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THE 




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INSTRUCTOR IN HOME A RTsTI} 




X 



BY A. MARSTON RAYMOND. 




;#« 



BHTKG A GUTDE TO THE 

FOLLOWING ACCOMPLISHMENTS: 

Fine Colored Glass Transparencies 

The Preservation of Natural Flowers. 

Horn an Vase Artise. — Photo-E'egantine. 

Pai>ier Diapery. — Crystal Porcelain Painting. 

Flower Painting. — Antique Painting. — Oriental 

Painting. — Miniature Painting. — Painting On Silk. 

Painting In Oil Colors. — Painting In Water Colors. 

Ornamental Pottery. ~ Japanese Work. — Hair Work 

Silk Flowers. ~ Sheet Wax Flowers. — Hot Wax 

Flowers. >-■ Wax Fruits, Wines, Beer, Jellies, 

Cakes, Ice Cream &c. — Skeleton Leaves. 

~ Shell Flowers. — Feather Flowers — St- 

aining And Crystallizing Flowers And 

Grasses. ~ Rubber Name Stamps. 



an 



rr~ 



D.M.LIENHARDT GENERAL AGENT. 

IMPORTER AND DEiLER" IN 

SUPPLIES. 

1025 Toplar Steet Philadelphia, Pa. 



I 



1 I ' 



Pi 






Entered according to act of Congress in the year 1881, by 
A. MARSTON RAYMOND, 

in the office of the Librarian of Congress, at Washington. 



INTRODUCTORY NOTICE. 

Ornamental work is fast becoming universal. A desire to 
acquire a knowledge of the ornamental arts seems inborn. 
There is a fascination in the handling of art objects 
that is irresistible to both young and old so that 
practice becomes a pleasent recreation 
rather than a task. To direct this 
remarkable impulse to become ac- 
complished in Art Elegancies into a 
useful and a profitable channel is 
the aim of this book. Its mission is 
usefulness, and it will prove itself 
the most practical instructor in the 
world. By the aid of this book any- 
one may in a very short time acqui- 
re a knowledge of many beautiful 
arts which can be made, it' need be, 
a means of considerable income in 
doing such work for others. In a 
word, the benefits to be derived 
from a study of ornamental work in 
nearly every walk of life can not be 
estimated. Nearly all the arts given 
in this work require very little art- 
istic skill or no more than ordinary taste. 
They have been the means of raising ma- 
ny to a higher position in life, and we ieel that we 
do not overrate its worth when we say that none 
need ever be in want while they possess this book. 



- )o( - 

Antique Painting — — — — — 173 

Artise, Roman vase — — — -—• — 11>1 

Artistic Hair work — — — — — 117 

Birds, Preserving and mounting — — 117 

Bronzing and Gilding — — — — — 012 

Brushes, To clean — — — — — 72 

Brushes, Choice of — — — — 90 

Colors, The harmony of — — — — 33 

Colors, To mix — — — — — — 39 

Cameo oil Painting — — — 54 

China Decorating — — 218 

Crystal ivory type — — — — — 54 

Chromo-photography — — — 54 

Crystal porcelain painting - — — — ' 13 

Crystallizing Flowers ard Grasses __ — — 137 

Colors suited to complexions— — — ~ 33 

Door Plates, To make — _ _ — — 203 

Deealeomame __ ___ 218 

Maphauie <t Titrema-ln — — — — * 149 

Engravings, To color — _ — _ — 173 

Mower Painting __ _ 9/ 

Flowers, Silk _______ — 113 

Flowers, Shell —____—__ 129 

Flowers, Feather ._ _____ 125 

Flowers. Sheet wax __ ... _ — 157 



10 CONTENTS 

Flowers, Hot wax — — 163 

Flowers, Hot wax 163 

Flowers, Jo preserve ■- — — 213 

Flesh Tints — — - 26 

Flowers, To Crystallize — — — — 13/ 

Fruit, To make wax — — — 167 

Grasses To stain — — — — 140 

Gilding and Bronzing - — _ — 212 

Hair work - — — — — . — — 117 

Harmony of colors __ __ — __ 33 

Inlaying, Japanese — — — — _ 109 

Leaves, I'o skeletonize - — — — — 133 

Italian miniature pain ting ~Z_ Zl ~~L — 47 

Instructions m coloring _ — - — 21 

Mixing tints — — — — — ■ — 39 

Materials for Crystal porcelain printing — — 43 

Materials for Italian miniature painting — , 51 

Materials for painting on silk — — — ^ 

Materials for Photo-Elegantiae painting as 

Materials for photograph painting in oil colors #5 

Materials for wax* flowers — — — — 262 

Materials for Antique Painting — — 195 

Oil Painting — — — __ __ _ (59 

Oil Colors, Photograph pain tic gin — 79 

Oriental Painting _ __ 197 

Ornamental pottery — — — — — 105 

Ornamental leather work — — 207 

Painting on china 218 

Painting in oil colors — — — — 69 

painting in water colors _ - — -_ 87 



CONTENTS. 11 



Painting, Antique — — — — — 173 

Painting on Silk — — — ■ — — 55 

Painting, Oriental — — — — — 197 

Painting, Japanese — — — — — 109 

Pottery Painting — — — — — ^05 

Painting, Cry stale type — - - ■ — — 47 

Painting, Flower — — — — — 97 

Painting, Cameo-oil — — — — — 54 

Photo chromograpliy — — — — — 54 

Painting, Madonna — — — — — 47 

Painting, Crystal Ivorytype— — — — 54 

Painting, Italian miniature — — — — 47 

Phoro-Elegantiae — — — — — 03 

Painting, Crystal porcelain — — — — 13 

Papier diapery— — — — — — 153 

Rubber Name Stamps — — — <>02 

Roman Vase Artise — — — — — 101 

Skeletonize, Leaves to — — — — j^> 

Transparencies Glass colored — — 145 
Taxidermy,the art of preparing and immuring birds 141 

Tints tor hair — — — — — — 9(> 

Tints for flesh - ~ - ~ - 16 

Tints/To mix - — — — — ^, 

Tints tor backgrounds — — - 26 

Tints for eyes— ~~ — ~" 25 

Vase, Artise Komau — "" ~~ 101 

Varnishes — — — — — — 219 

Wax flowers, Hot — — — — — 163 

VV ax flowers, Sheet -« — — — ~ 357 

Wax fruits, wiues, beer, cake, jellies, ice cream & c. 167 



INTRODUCTION TO 

CRYSTAL. PORCELAIN 
PAINTING 

This art which seems to be the rage at present in all pa- 
rts of America is not at all new. I have seen two pictures 
in New Orleans that have been in a family over eighty 
years and are each marked Lorenzi Bernatto. — 1795 
Another lady living in Chicago has one of another subject 
bearing the same name and dated 1817. And still another 
lady of Toronto has one with the same name and dated 
1821. Those were each done on two convex glasses, the 
clouds and subdued tints being put on the second glass. 
Those pictures are very well executed, and if put in new lr 
-ames would look nearly as well as if recently colored. 
They seem to have beeu copper- -plate engravings rend 
ered transparent with something like spermacetti. 
From these facts we can reasonably conclude that Lorenzi 
Bernatto was one of the first to introduce this style of 
painting and possibly if uot probably the author of the 
process. 

In 1818 an imitation of this process was introduced in 

England by Alfred Lester under the name of Italian Pai- 



16 CRYSTAL PORCELAIN PALNTilNO 

ng whicli uanie bears another shade in favor of it being 
an Italian invention. Although Mr Lester Prospered for 
a while practice was soon discontinued as the pictures sp- 
otted. In 1810 Exavier Badeau a French Canadian in 
-t reduced The Lost Art which was another imitatioL of 
the Bernatto Process. He was not permantly located any 
where but changed to a new field of labor as soon as his 
pupils learned that their pictures began to perish. 

In 18 od Prof. Gaskill introduced Antique Paiutiug th- 
roughout the United States. This was not an imitation of 
the Bernatto process as the print was transferred from the 
paper onto the glass. But the painting was done on the 
back in the same way. This gentleman gained the sup- 
reme respect of all his pupils who may be found in near- 
ly every city from Main to California. But although he 
seems to Lave prospered even up to a month before his 
death he died in a Poor House at Nashville. Teuu. in 18- 
78. leaving no papers with which to trace up his relations. 

The art known as Crystal Porcelain Painting was first 
introduced in America by a Mr. O' Connor,from Ireland, 
in 1862. This process has stood the test of time. I have 
one painted by him nearly 13 years ago that has not 
undergone any visible change. His rates lor teaching 



CRYSTAL PORCELAIN PAINTING 17 

were very high consquently few persons learn'd under h in 
But still he received handsome returns for his labor. Oth- 
ers not wishing to pay for learning produced by experi- 
ment pictures that looked fully as well for a while, but tli 
ose done by Mr. O'Connor's process have alone stood the 
test of time. It is hardly necessary to mention the vario- 
us processes that have been palmed off on the people as 
the right one as there is hardly a street in any large city 
in the U. S. but has a person living on it who has been 
duped by some one of the worthless processes. 
In my travels I have met several who claimed to be fchu 
Authors of this painting but if the real Author would put 
in his appearance about now I think he would in age some 
what resemble Kip Van- Winkle. 



CRYSTAL POKCELAIN PAINTING 
To proceed: — If the photograph you desire to color is 
mounted on a card give it a thorough soaking in hot wa- 
ter to remove it from the card. Then prepare a thin paste 
of one teaspoonfull of corn starch and one teaspoonfull of 
Nitrate of Strontia to half a cup of cold water and keep 
it stirred till it comes to a boil. 



18 CRYSTAL PORCELAIN PAINTING 

Having cleaned your convex glass, paste the hollow side 
of it and the face of the picture, and proceed to work out 
all air between the picture and the glass. Do not begin 
by stretching the edges of the paper as it is the center 
that needs a little stretching to cause the sides to lay even. 
Work from the center, carefully towards the edges, first 
wi^h i our fingers, then with the zinc presser made for 
the purpose. Turn the beveled edge of the presser down 
on the picture and draw it from the center to the edge to 
work out the paste and to press out the air blisters betw 
een the picture and the glass. 

When the picture is perfectly dry on the glass rub off the 
paste on the back with medium sandpaper or emery paper 
then fill the hollow side of the glass with Mrs Alexand. 
der's Translucent Preparation and allow it to remain on 
till perfectly transparent this will take from eight to twel 
-ve hours according to the thickness of the paper. But the 
time can be lessened by carefully sandpapering the pict- 
ure very thin. As the picture can not be injured by allow- 
ing the mixture to remain on longer than necessary it is 
best to be sure that it has been on long enough as it is lia- 
ble to spot if not allowed sufficient time to become per 
fecily clear. Moreover the colors are put on the back of 



CRYSTAL PORCELAIN PAINTING 10 

the picture and if it is not clear the colors will lo >k [lie. 

ANOTHER MODE 

Auother mode of making the pictures transparent is by 
sandpapering them very thin and melting spermaceti 
over them. Melt the spermaceti in a dish by the heat of 
steam. This can be done by placing the dish over a vessel 
of boiling water. When it is melted to a liquid warm the 
glass on which you have mounted the picture and put it 
into it. Be particular to see that the picture is entirely 
covered with the, spermaceti. If the sandpapering is well 
done it will get transparent in about one hour, but if it is 
not well sandpapered it will take longer. 

I preter this mode as it is the quickest, but the utmost 
care should be obeserved in sandpapering or you will rub 
a hole through the picture, but if this part is slighted 30U 
will have the mortification of seeing your picture become 
clouded and spotted 



20 CRYSTAL PORCELAIN PAINTING 

PKOF. La FONTAIN'S PKOOESS. 

This also requires the picture to be carefully sandpapered 
very thiu . sometimes instead of sandpapering, the index 
finger is made moist and used in a brushing motion to re 
move the paper in little rolls. I prefer to sandpaper them 
because the moisture of the finger draws the strength 
from the paste, and then the picture is very apt to peal 
off of the glass, and when once off it will be found some 
what difficult to put it on again on account of it being 
made so very thin. 

Instead of spermaceti Prof. La Fontain used Russian Isin- 
glass dissolved in alcohol to the consistency of varnish. 
Alter giving the picture a coat of this preparation with 
a fine brush it is allowed about twelve hours to dry when 
it will be ready to paint. 

The painting is the same in each process. They differ only 
in the mode of making them transparent. Sometimes par- 
afiue is used instead of spermaceti. Either of them will 
make imperishable pictures if properly used, but much 
depends upon carefully sandpapering them very thin. 
Various kinds of oils are often used to render them traus 
parent but all oils evaporate and by doing so the transpar 
ency leaves the paper and .he pictures are then ruined. 



INSTRUCTIONS IN 



(21) 



CRYSTAL PORCELAIN PAINTING 23 

INSTRUCTIONS IN COLORING. 
A few of the following pages are devoted to complete instr- 
uctions in coloring of the different parts such as eyes, lips, 
jewelry, hair, complexions, ribbons, laces, furs, leathers, 
and dresses. No less interesting will be the table on mix 
ing tints a knowledge of which will save the expeuse of 
buying unnecessary paints as it tells how to make a vari- 
ety of colors out of a few. 

If you know very little of the harmony of colors you will 
find an extensive list of colors that harmonize. If you 
are not expert in the adaptation of colors to the different 
complexions, you will find in order the colors suited to fa- 
ir, dark, medium, pale and sallow complexions, witli fit- 
ting remarks on harmony by contrast and harmony by 
analogy, also the proper adjustment and blending of col- 
ors to contribute the greatest natural excellencn to the pl- 
ainest features. I will here remark that it is not sufficent 
to have perfect instructions as much depends on having 
the best materials as there is much deception in them. 
I can safely recommend to you Mr. D. M. Lienhardt whose 
advertisement you will find in the end of this book. Any 
thing bought of him will prove satisfactory and his prices 
will be as low ,and on some things, lower than elsewhere. 



24 CRYSTAL PORCELAIN PAINTING: 

The coloring is all done on the back of the picture regard- 
less of all shading as the shaddows are already printed 
on the paper and will be clear and beautifull in front 
although it receives but an even coat on the back. A little 
dot of blue on the back of the eyes will make them perfe- 
ct after touching the white part with a little white. Wh 
en you color jewelry, ribbons, dresses, &c au even coat of 
the desired color on the back over shades and light parts 
alike will look as beautifully shaded in front as if done 
by an experienced Artist. 

It takes two glasses to complete each picture. The one on 
which the picture is pasted is called the first glass. On 
this should be colored the eyes, lips, cheeks, jewelry, rib- 
bons, hair, and all deep or bright colors. This done a little 
narrow strip of card is pasted onto the glass close to ^he 
edge to wedge the glasses apart to prevent the second 
glass smearing the paint on tda first one. 
Soft or subdued tints are all colored on the second glass 
and show through with less brilliancy than when put on 
first glass. The face, hands, laces, furs, feathers, em broid 
ery, fans, handkerchiefs, , collars, cuffs, dresses and back- 
grounds go on the second glass. 

When completed bind the two glasses together with a- 
caid en the back to keep out the dust 



CRYSTAL PORCELAIN PAINTING 25 

TINTS FOR EYES. 
Gray eyes, use Prussian blue tiuged with yellow to give 
it a greenish-gray caste, aud if too dark add a little white 
to make it lighter, and if too green add a very little brown 
Brown eyes, use Vandyke brown with white and a little 
yellow to make it the shade desired 
Hazel eyes, use Vandyke brown a little Crimson lake 
and Silver, or Flake white to make it lighter 
Blue eyes, use Prussian blue. Mix white with it to make 
all the varied shades of blue, bearing in mind that the 
more white added to the blue the lighter it will be. 

TINTS FOR JEWELRY. 
Old gold, use Chrome yellow tinged wth Crimson lake. 
Roman gold, use Chrome yellow and Silver white. 
Bronze gold, use Raymond's. Gold Paint. This is the 
best article sold for this kind of painting. 

TINTS FOR PRECIOUS STONES. 
Rubies, use Rose madder and Crimson lake to suit. 
Pearls, „ Silver white and a little Prussian blue. 
Emeralds „ Emerald green and a little Silver white. 
Garnets, „ Chinese vermilon and Rose madder to suit. 
Diamonds „ Little specks of Vermilion first and when 
dry finish with white. 



25 CRYSTAL PORCELAIN PAINTING. 

TINTS FOR CHEEKS AND LIPS. 
For children, use Rose madder. Put a speck on the cheek 
with your brush and rub it on with your finger so as it 
will be on very thin. For grown persons, tint the cheeks 
and lips in the same manner with Crimson lake. 

FLESH TINTS. 
For children, mix Rose madder, Silver white ard a little 
Chrome yellow. For grown persons, mix Chinese vermilion 
Silver white and Chrome yellow. For dark complexions, 
add Vandyke brown. 

TINTS FOR HAIR. 
Chestnut hair, use Ivory bLick, yellow and a Tttle madder 
Brown hair, use Vandyke brown. To lighten the shade 
use a little yellow and white 
Flaxen hair, use white, yellow and brown. 
Brown h^ir, use Vandyke brown. To ligten the shade 
add white, but if a yellowish brown is desired add yellow. 
Auburn hair, use Burnt umber, Lake ami chrome yellow. 
Gray hair, use white, yellow and a little blue. 

TINTS FOR BACKGROUNDS. 
To imitate Pearl mix a little black and blue with white. 
To imitate Porcelain mix a very little blue with white. 
To imitate Ivory mix a little yellow with white. 



CRYSTAL PORCELAIN PAlNTJLINtf. 27 

A little green uiix'd with white makes a very pleasing tiufc 
for backgrounds, as does also a little blue and rose madder 
inix'd with white. 

To imitate Jet mix blue, black, and a very little white. But 
bear in mind that unless the background is very dark in 
the picture it cannot be made jet black. 
Vandyke brown, Gamboge, white and piussien blue miih 
a variety of pleasing tints for backgrounds. Burnt sienna 
Silver white, Carmine, and gamboge, make beautiful 
ivory tints, very usefull in autumnal foliage, shading of 
draperies, also for birds, flowers, and all cases where very 
rich color is required. 

K iw sienna, madder lake, cobalt, and silver white make 
very beautiful silvery grays. 

Some beautiful, warm, sunny tints may be produced by 
mixing yellow ochre, orange vermilion and silver white. 

Some dull sober tints on the order of beautiful grays 
can be produced from lamp blach, silver white and gam- 
boge. 

From lamp blach Silver white, and Cobalt blue, may be 
produced. A variety of saddened blues of universal use- 
in shies &c. White and a little Carmine produces a delicate 
tint suitable for back-grounds on paintings of children. 



28 CRYSTAL PORCELAIN PAINTING/ 

A variety of delicate tints can be produced from rose 

madder, cobalt blue and a little white. The white is added 

to make the transparent colors opaque 

From yellow ochre, rose madder and cobalt blue a variety 

of duller tints may be produced 

From a little white, yellow ochre and prussian blue a vari 

ety of pleasent,cool grayish greens may be produced. From 

rose madder, brown mader, prussian blue and a little white 

a variety of grays and purples may be obtained. A little 

white, gamboge and burnt sienna produce several bright 

tints usefull in painting band.- borders &c 



COLORS SUITED TO 

(S(DSB3P3LSS2(0>Sr8. 



(29) 



CRYSTAL PORCELAIN PAINTING. 31 

As colors detract from or contribute to the skinaud gene 
raJ cast of the features such colors should be selected as 
will best harmonize with ^he complexions The reason per- 
sons often remark that paintings look more handsome 
than the persons really are is simply because the artists 
selected colors that best suited the complexious.On the 
other iiand artists have destroyed the appearance of bea- 
utiful laces by the rehection of ill assorted and inharmo- 
nious colors. Attend therefore to aprop3r adjustment of 
colors and their harmonious blending and you may even 
improve plain features. 

All soft hues of each color are most appropriate to be- 
auty. Brilliant colors should be used sparingly. 
Even ribbons and trimmings are not chaste and pleasing 
if too brilliant, but of course they will bear a greater rich- 
ness of color than the principal material of the dress. 

COLORS SUITED TO FAIR COMPLEXIONS. 
The colors best suited to fail' females are rose, azure, buff, 
mauve, peach, fawn, and all light shades of yellow. 
COLOKS SUITED TO DAEK COMPLEXIONS. 
For dark complexions the colors that suit best are violet, 
purple, puce, olive, dark blue, green, claret [color j old 
gold or orange, [color] and pearl 



32 CRYSTAL POKCJ4LAIN PAINTING 

OOLOKS SUITED TO MEDIUM COMPLEXIONS. 
lA>r metJiuiii complexions tne colors Chat suit best are az- 
ure, pink, pencil, iliac, and pale green. 
OOLOliS SUITED TO PALE COMPLEXIONS. 
The colors best suited to pale females are pale yellow, buff, 
pale rose, light blue, Iliac, and dove [color.] When wnile 
is used it eau be toned with the above colors for trimming. 
COLOHS SUITED TO SALLOW COMPLEXIONS. 
The colors best suited to sallow complexions are red, pur- 
ple, green and blue of varied shades. 

1 will here say that the mere fact that the colors harm- 
onize with the complexion is not sumeent. the;' must also 
harmonize with each other,* that is, t lere must be an agr- 
eeable contrast between the ribbons, trimmings, aud the 
dress. Some times the colors suited to a blonde wiii look 
well on a brunette, but not unless there is associated with 
them colors that harmonize with the compiexi m thereby 
causing a harmony between the whole; but still this is 
not as perfect a harmony as when the dress suits the co- 
mplexion. Black suits all complexions. 



INSTRUCTIONS IN THE 

W&MM©''M°T ©2? ©©Si®!!, 



(33) 



CRYSTAL PORCELAIN PAINTING. 35 

TABLE OE COLOliS THAT HAKMO^lZE. 

Yellow and Purple Harmonize 

„ „ Black .. .. H 

v 11 Vio^t ,. 

„ „ Scarlet r , 

11 11 Lilac * ,. 

ii ii Drab .. .. m 

„ „ Crimson ,. 

77 77 Blue * .. „ 

77 77 Bed .. „ 

77 77 Brown .. ^ 

„ „ Pink 

Pul'jhe „ jblack and Crimson .. .. ..''-. 

„ „ Yellow and Scarlet 

„ „ Green and Yellow .- .. ,. 

„ „ Blue and Crinson 

„ „ White and Scarlet „ 

„ „ Red and Green 

„ „ Blue and Orange 

„ „ Crimson and Orangv 

„ „ Gold [color | and Scarlet 

„ „ Chestnut and Bntf 

„ „ Cardenal and Y^cllow •• 



;3G CRYSTAL PORCELAIN PAINTING 



TABLE OF COLORS THAT HARMONIZE. 
Black and Orange Harmonize 



55 


55 


55 


55 


» 


T) 


?? 


55 


Orange 


5? 


» 


55 


?> 


55 


75 


.55 


» 


55 


55 


55 


55 


55 


White 


55 


55 


55 


15 


55 


55 


J? 



Maze 

Wiiite 

Scarlet 

Lilac 

JJrab .. .. 

Crimson 

Blue .. 

Butt' 

Brown 

Pink .. .. 

Lilac and Crimson .. 
Purple and Scarlet •• >. 
Green and Scarlet 
Blue and Ornison.. 
Green and Scarlet .... 
Red and Green 

Blue and Crimson •• 
Cnnison and Scarlet .. 

Gold [color] and Cherry 

Cnestnut and Pttroje .. 
Cardenal and Yellow •'• 



55 

55 
55 



CRYSTAL PORCELAIN PAINTING. 37 

TABLfc OF COLORS THAT HARMONIZE. 

Lilac and WLite Ilarinonize 

„ „ Gray .. .. ... .. ... .. 



Maize 

„ „ Scarlet .. .. 



w 11 



11 ii Cherry .. 

„ „ Mauve • 

„ „ Criuisoii 



„ „ Yellow and Crimson 



ii ii 



White and Scarlet 



Crimson „ Maize 



„ Black 



„ „ Cardenal and Yellow 



? , „ Yellow and Orange 

„ „ Green t ' and Yellow . .. . 

„ „ Blue and Black 



V 



»> 



11 

ii ii Brown .. n 

ii ii White „ 

Scarlet „ Black and Yellow •• .. .. 

„ „ Blue and Orange 

£ „ White and Orange n 

„ „ Gold [color] and White .. .. 

„ „ Blue and Bnft' .. *• .. ^ 



ii 



38 CRYSTAL PORCELAIN PAINTING. 

TABLE OF COLORS THAT HARMONIZE. 

Blue and White Harmonize 

„ Drab .. .. „ 

„ „ Maize „ 

„ Yellow .. .. „ 

v n Cherry „ 

n v Fawn * 

„ „ Chestnut n 

„ „ Yellow and Crimson .. - «• ,, 

„ „ Crimson and Orange » ,- .. „ 

„ „ Green and Yellow n 

„ „ Scarlet and Purple n 

„ „ White and Scarlet .. „ 

» v Buff „ 

„ „ Black ,, 

„ „ Brown .. .. „. 

„ „ Crimson .. .. „ 

Red ■„ Black and Yellow „ 

„ „ Blue and Orange „ 

„ „ White and Orange „ 

„ „ Gold [color] and White .. .. „ 

„ „ Blue and White .. • •• „ 

„ „ Green and Yellow •• „ 



INSTRUCTIONS m 

B1121© <S@li©2l©« 



(39) 



CRYSTAL PORCELAIN PAIJNTINU. 



41 



For 



TABLE FOR 
Buff Mix 

Cardenal „ 
Chocolate, „ 
Chestnut „ 
Dove „ 

Drab „ 

Green „ 

Gray ,, 

Gold [colorj „ 
Olive „ 

Peach '„ 

Pearl „ 

Purple „ 

Pink 

Flesh „ 

Stone[color]„ 
S! eel [color],, 
Violet 



MIXING COLORS. 
Red, Black and Yell >w. 
Rose madder, and Vermilion. 
Red, Black, and Brown. 
Red, Black, and Yellow 
White, Red, Blue and Yellow. 
White, Yellow, Red aud Black 
White Blue, and Yellow. 
White, Black and Yellow . 
Yellow and Rose madder. 
Yellow, Black and White. 
White and Rose madder. 
White, Black and Blue. 
Rose madder and Blue. 
Rose madder and White. 
White, Yellow and Red. 
Blue, White and Brown. 
White, and a little Black. 
Carmine, Blue and White. 



42 CRYSTAL PORCELAIN PAINTING-. 

GENERAL REMARKS. 

In mixing colors the quantity of each color is n^t given 
as the quantity of each color depends upon the shade de- 
sired. If you mix white, yellow ^nd blue for gray hair and 
find that it makes the hair an iron gray when you desire 
a silver gray you will have to add more white as it is the 
blue that darkens it. For golden gray the yellow is made 
to predominate. If too much blue is used it will make a 
green tint. The same rule must be observed in mixing all 
tints. If in producing flesh tints you get them too florid 
it is on account of too much red. If it is too sallow it is 
caused by too much yellow; and if too pale it is on aceonnt 
of too much white. Thus it will be understood that a little 
judgement will save unnecessary mixing of colors. 
If you wish to remov r e any paint from the picture do so 
with a soft rag or sponge and a little bleached crystal oil. 
But do not use it too freely or it will extract the transpa- 
rent preparation from the picture and cause it to spot. 
Clean your brushes in purified spirits of turpentine 
when ever you wis'i to use another color, and never allow 
the paint to dry on the brush as it will render it worthless. 
Sometimes shiny streaks appear which are caused by 
the paste being iusufficently worked out with the presser. 



KEQISITES FOR 



CKYtSTAL 1'OBCELAIN PA1NT1NU. io 

MATERIALS REQUIRED MMt 

CRYSTAL PORCELAIN 
PAINTING. 

The materials required for this work are one tube each of 
the following Oil Colors: Chinese vermilion, Silver white, 
Prussian blue, Chrome yellow, Vandyke brown, and Crim- 
son hike. Two small Camel-hair brushes.fNo's 2 and 4.J 
One bottle of Purified Spirits of Turpentine. One bottle 
of Mrs. Alexander's Translucent Preparation. One bottle 
of Crystal Oil. Tuo Card, and two Cabinet size Convex 
Glasses. Half an ounce of Nitrate of strontia. 
All the materials in the above list are included iu Mr. 
J). Ai. Lienhardt's $1.50 outfit.[See advertisement at the 
end oi this book.] 

Other colors can be used to advantage, but the above list 
is very good set lor general purposes. 
PKl^E GENERALLY CHARGED FOE THIS WORK 
I am often asked how much is generally charged for colo- 
ring pictures in this style, but the prices vary in every 
city from $3. to $(>. each. It is nearly all profit, the main 
cost being only ten cents each for glasses. A set of paints 
will color a great many pictures. 



46 CRYSTAL POKCELAIN PALNT1NU- 

GENERAL KATES FOE TEACHING THIS AKT. 

This art has never been taught to any great extent ior 
less than ten dollars, and as high as one hundred dollars. 
I have met a tew in niy travels who said the" learned it 
for five dollars, but \^ hat they thought was instruction 
was only a burlesque on it, as very lew, indeed, can get 
along without perfect instruction in the different parts as 
they ar? given in this book. Even at ten dollars teachers 
never give more than two lessons in which the easy parts 
are shown and the most difficult parts are passed over, 
unuotced by most pupils because they think th.*t the who- 
le process is simple enough to be learned by any numskull. 
But imagine their consternation — conceive if you can of 
their feelings when they find that they cannot do it! The 
teacher is gone. The charm is gone. And the money is 
gone. Why has this happen df 1 will tell you. It was be- 
cause they were not as smart as they imagined they were. 



ITALIAN 



(47) 



ITALIAN MINIATURE PAINTING 49 

ITALIAN 
MINIATURE PAINTING. 

This art is known by various names such as Madonna 
Egyptian, and Crystalotype painting. 
Pictures colored in this way are generally mounted on 
convex glasses, but it is not really necessary to do so as 
they can be colored on the card. 

The colors used for this work are transparent. An ev- 
en coat on tiie diileret parts, of the desired color, will ap 
pear as if stfciy applied and artisticly shaded, because 
the shades of the picture show through the color. To col 
or eyes, hair, ribbons &c. an even coat over each part 
with the color desired is ail that is required. Before ap. 
plying the colors go over the picture wit'i a soft damp 
sponge. This process is the reverse of Crystal Porcelain 
Painting as in this the painting is all done on the front of 
the picture, and in Crystal Porcelain Painting the color- 
ing is i*ll duiic on the back. In Italian miniature Painting 
the picture shows through the colors. In Crystal Porcelain 
Panning the colds sin w through the picture. In one oil 
color* are used ar d they are nearly all opaque. In the other 
none of the colors are opaque, nor is there any oil eolois 
used. Some \ ei>ons call them water colors but they are no 



50 ITALIAN MINIATURE PAINTING. 

They are transparent stains. And they simply stain the 
eyes, hair, dresses, ribbons, flesh &c, without obscuring 
the shades of the picture. If the picture is to be moun- 
ted on a convex glass give it a thorough soaking iu hot 
water to remove it from the c;,.d. The touching of the 
different parts with a damp sponge before puning the 
colors on is to prevent them running. If you put a color 
on and wish to remove it do so at once with Ita'ian Stain 
Remover, [It is poisou.J and a soft sponge. When colored 
make a paste of one teaspoon ful of corn starch and one 
teaspoonful of nitrate of strontia to half a cupful of cold 
water and^keep it stirred till it comes to a b»il. Now paste 
the concave or hollow side of the glass .*nd the face of th? 
picture and proceed to work out all air between the pic- 
ture and the glass, first with your fingers, then with the 
zinc presser, but be careful to turn the beveled edge down. 
Some persons prefer this process to Crystal Porcelain pain 
-ting as there is no sandpapering to be done, nor render- 
ing of the picture transparent. A cWld twelve years of 
age will become, proficient after a very little practice. 
The hints given in Crystal Porcelain Painting on the col 
ors suited to different complexions will be found of great 
service as will also the hints on the harmony of colors. 



REQUISITES EOK 



(61) 



ITALIAN MINIATURE PAINTING 03 

MATEKIALS KEQUIKED FOR 

ITALIAN 
MINIATURE PAINTING. 

Tlic materials required are a complete set of Italian Col- 
ors, Two Zinc Pressers. One bottle of Italian stain H'iiu:v 
er. One ounce ol Nitrate of Stroutia. One bottle of PuiihVd 
Spirirs of Turpentine. [ Foi cleaning brushes, j Two Uun- 
ei's liair limbics. [ No's 2 & 4. ] 

All the above articles are included in Mr D. M. Lienh- 
ardt's 12. outfit. [S. j e advertisement on last page.] 
THE P1UCES CHAliGED FOlt THIS Y> OKK- 
Although it takes but a few minutes to color a picture in 
tii.s way the general belief is that it takes several hours 
of tedious work, consequently the price is kept up io $5. 
in most cities, but in Philadelphia it is down to $1. Jiufc 
even at that price an Amature can make $30. per day, as 
the only expense is the cost of the glass wiiich fluctuates 
from 7 to 10 cents each. A set of colors will do over a 
hundred pictures. The price for teaching this art in Philad- 
elphia and New York is $5. in other cities the price is 110. 



54 CRYSTAL 1VOBYTYPE PAINTING 

CRYSTAL IVOKYTYPE PAINTING 

This is merely another name for Crystal PoicelaiL Paint- 
ing. The process is precisely the same. 

CAMEO OIL PAINTING. 
This is an imitation of Crystal Porcelain Painting. It was- 
ealled an improved process because they are made transpa 
rent with castor oil and require no sandpapering. It is a hu 
mbug as the oil evaporates and leaves the picture spotted. 

PHOTO - CHEO - MOGKAPHY. 
This is the same as Cameo Oil Painting with the exception 
of a little alcohol being mixed with the castor oil. It is cla- 
imed by some that the alcohol prevents it spotting, but as 
alcohol is a dryer it will cause spots to come quicker than 
if it was not used. 

GHBOMO PHOTOGKAPHY. 
This is merely another name lor Cameo Oil Painting. It 
has a little glycerine mixed with the oil and this it is cla- 
imed prevents the oil evaporating, but I colored one this 
way, and in three months it had at least ten thousand sp- 
ecks like freckles on it. 

Those different processes are merely the result of experi- 
ment by persons who desired to know ail about Crystal 
Porcel tin Painting without paying for iustruct'ons. 



wmsm TOST© ©Sf siais, 



(55) 



PAINTING ON SILK. 

Judging from the various articles in silk, satin, swiss, and 
velvet, that are now ornamented by hand painting it pro- 
mises fair to become the favorite of home arts. The exh- 
orbitant prices that are charged for this work, the dema- 
nd for it, and the ease with w'uch a thorough knowledge 
of it is acquired, opens to thousands a field of labor that 
promises handsome returns. A gentleman in Washington, 
IX (J. has within a few years made a nice little fortune de- 
corating masquerade costumes, ball, wedding suits &c. 
Another young lady of the same city paid five thous; nd 
dollars for a residence, all of which she made by painting 
birds, branches, flowers &c, on ladies bows and neck-we 
ar. An acquaintance of mine has given up portrait pain 
ting to devote all his time to painting buttons aud gloves. 
Those who have thorough knowledge of sketching can 
make their own designs on the article to be decorated, 
with a soft lead pencil, and after blendiug a little mas 
tic v *rnish and cremnitz white to a consistency that will 
freely flow frcm the brush, go ever all the design with it. 



58 PAUNTlNCx ON SILK. 

When dry give it another coat, and when this has dried 
a third coat can be pat oa, aad w hea dried to a tack a;>[>iy 
dry colors of the finest quality, blending them as desired. 
For purple flowers, mix carmine and prussian bine. For 
light pink, use rose madder; medium pink, use carmine; 
and for dark pink use crimson lake. For yellow flowers, 
use chrome yellow and shade with sienna. For orange 
color flowers, mix a little carmine with chrome .yellow. 
Mix prussian bine and yellow for the varied shades of da- 
rk and yellowish green, and add white t< produce all ilie 
lighter shades desired. Shade green leaves aad stems with 
Vandyke brown. Put in the veins with brown or black thi- 
nned with copal or mastic varnish. For stamens add a 
little chrome yellow to t >e brown. If the whole is not 
evenly coated it will not look well. 

A PKOCESS FOK THOSE WHO OANNOT DKAW. 
Tiltou's design cards are a wonderful help to such as can 
not draw their own designs. Those cards have the outlines 
perforated and by rubbing powdered chalk over them it 
transfers the design onto the goods to be decorated. Each 
subject has directions in detail for coloring the different 
parts. While practice in this way cultivates the taste and 
educates the e~e yet to become proticent in this art a kno- 



PAINTING ON SILK. 59 

wledge of freehand drawing is very necessary. 

THE THEOREM OR STENCILING PROCESS. 
Another mode of decorating silk &c is with theorems. 
Those are designs cut out of oiled paper on the order of a 
stencil. The flower or whatever it may be is cut out of one 
piece of oiled paper in solid form, and on another piece of 
oiled paper the shade alone is cut out. The solid form is 
first laid on the article to be decorated and cremnitz wh- 
ite rubbed over it with a stencil brush. Mix in with the 
white a little copal varnish to prevent it running. When 
the first coat is dry give it another. Allow a third coat to 
diy till it becomes tacky then lay on the same theorem 
and apply some very fine dry color with a piece of thick 
plush . Do not rub it ou, just pat it on very light so as it 
will have a soft velvety finish. Next put over it the paper 
on which the shades are cut and go over it with a littie 
varnish and when tacky go over it with dry color useing 
the plush as before. The shades can be put on with Van 
dyke brown, Ivory black, or any other color that suits the 
subject best. On raising the second theorem you will have 
your design beautifully shaded. 

Any design can be finely executed in this way if the steu 
oils or theorems are well made. Those who cannot draw 



60 PAINTING ON SILK. 

their own designs can have them made on sheet brass by 
any general engraver. Those made cf brass are niuc ,> more 
durable than those made on p iper, and with care will last 
for years. If you get some costly designs cut iu this way 
and wish duplicates on sheet brass for scholars, the cheap- 
est way would be to procure some sheet brass and cut 
pieces of the size desired, then coat them with a mixture 
composed of the following articles. Burgundy pitch, 2 ou- 
nces White wax, 3 ounces. Mastics, 1 ounce. Melt all tog- 
ether in a pan then pour it into cold water and form into 
very sm til b tils. Xexi put the bails into a small bottle wi- 
th sufficent Asphaltum varnish to dissolve them. If they 
do not readily dissolve put the bottle in warm water and 
bring to a boil and this will cause the little balls to disso- 
lve. Tins done give the pieces of brass a coat of this mi- 
xture on each side and lay your design over it and trace 
every part with a pointed instrument. Merely scratch th- 
rough the varnish then place it into a vessel of Nitric 
acid diluted with water and the Acid will cut through the 
parts you have traced with the pointed instrument, and 
the pieces will drop out, then the varnish can be cleaned 
off with alcohol. In this way you can make duplicates In 
a few minutes of designs fch it will e > ifc se ve ral dollars. 



PAINTING ON SILK. 6l 

If it cuts through the brass iuside of twenty minutes it is 
apt to peal the varnish off of the glass, therefore see to 
this point, and dilute the Acid with water if it cuts too f :* t 
You cau try it on a small piece of brass to see how long it 
will be cutting through it, aud when yon have the acid re- 
duced to its proper strength put in your design. 
Few persons there are who will be able to appreciate the 
value of this Etching Eecipe. It may seem of little impo- 
rtance to many, thrown in as it is with so much for a little, 
but as simple as it may seem I paid $200. for it. You may 
perhaps get an idea of its worth when I say that any Stei- 
cil Cutter who learns how to etch stencils in this way cau 
save an expense of several hundred dollars for Dies aud 
Chisels, as it is with such tools they nearly all do their 
work. Moreover the Acid will do finer work than lies 
within the power of any man to execute, Nor is this all: 
The Acid will etch out apiece of work in twenty minutes 
that will take a month of Chisel work by an expert Sten- 
cil Cutter. - Every mechanic can mark his name ou his 
tools in this way, and any lady can learn from this book 
how to transfer ornamental letters monograms &c, from 
paper onto silverware or any thing of value in metal and 
mark them equaly as well as if engraved by hand* 



MATERIALS REQUIRED FOR 

FAINTING ON SILK. 

Procure a tube of cremnitz or fltke white and the follow- 
ing dry colors : Prussiau blue, Green, Black, Burnt sienna, 
Carmine, Chrome yellow, and Vandyke brown. A bottle 
of copal or Mastic varnish, a palette and palette knife 
5 Sable brushes [No's 1 to 5.J 2 camel's hair brushes [No's] 
5 and 6. - The price generally charged for teaching with 
theorems is ten dol'ars; the free hand process is $30. 



s>ar® , 5r©-ig2LaB®As^P3JS. 



(63) 



In bringing to jour notice photo - elegantiae it affords me 
not a little satisfaction on account of its extreme simplicity 
in every part. Up to the present time Crystal Porcelain 
Painting has been acknowledged by all to be th? most si- 
mple and effective process for coloring photographs in oil 
colors, but I can justly claim for this greater simplicity. It 
is the result of several years practice in and observation 
on coloring photographs. By this process pictures are ren- 
dered doubly valuable by adding the warm tints of life to 
the cold, death-like, but faithful production of the photo- 
grapher. Life size portraits or miniatnres for lockets may 
be painted with equal facilitj T . It is the most handsome 
and permanent of all paintings on glass, and it promises 
fair to become the favorite mode of painting photographs 
Some persons consider it a costly art to practic because 
the glasses are worth fifty cents each, but those glasses 
are J inch thick and the beveled edges can be gilded and 
ornamented so that no frame will be necessary. Moreover, 
there is two glasses used in Crystal^ Porcelain Painting 
and they are so very frail there is danger of breaking 
them while mounting the pictures on them. 



06 PHOTO-ELEGANTI^E PAINTING 

Iii this process only one glass is used, and that is too 
thick to be very easily broken, unless it is let fall. There- 
tore it will at once be noticed that what is saved in one 
way is lost in another. 

In this process the pictures are made transparent with 
Camphorated extracts oi bleached beach tar after being 
sandpapered very thin. The sandpapering on the Hat gla- 
sses is much easier to do than it is on the convex glasses. 
To proceed: If the photograph is mounted on a card givr. 
it a thorough soaking in hot water to remove it IVoni the 
card. Then prepare a thin paste of one teaspoouful of corn- 
starch and one teaspoonfui ot'nitrale of strontia to half a 
cup of cold water. Place it on the stove and keep it well 
stirred till it comes to a boil. Now paste the face of the 
picture, and t'ie hollow side of the glass, and proceed to 
work out all air between the picture and the glass, first, 
with your lingers, then with the zmc presser sold witn out- 
fits. Sometimes sniuy streaks can be seen after the paste 
has dried, which can only be leinedied by removing it 
from the glass by soaking it in warm water and proceed- 
ing as before, only, cover both sides with paste and leave 
it soak well into the picture before remounting it on the 
glass. Those streaks are caused by the paper being too 



PHOTO-ELEGANTTiE PAINT1KG. 67 

thick or stiff for the paste to be worked out sufficently. 
When it is dry cover a sin ill block with cloth and fold 
sandpaper around to rub the paper down very thin. 
Iff the glass is larger than the photograph cover the marg- 
in with strips of paper till you have sandpapered it ^o as 
to not scratch the glass. When sandpapered remove the st- 
rips of paper from the margin by dampening them, but be 
careful not to dampen the picture. Now put the bottle co- 
ntaining the bleached beach tar extract in hot water till 
it is dissolved then pour it on the picture and hold it over 
a lamp to keep the glass warm till the picture is transpar- 
ent. As soon as the picture is clear, which will be in a few 
minutes, wipe offthe superliin us liquid, and in ten minutes 
it will be ready to paint. 

Tint the cheeks, lips,eyes, and hair, and allow the paint to 
get perfectly dry before putting on the flesh color, as the 
tint on the cheeks will blend with the flesh color if not per- 
fectly dry. ¥&r laces, furs, and all soft colors mix a little 
Mastic varnish with the color and apply it very thin. If it 
looks smeary remove it with Crystal oil, and add more va- 
rnish to the color. Flakes of pearl and tinfoil makes a be- 
autiful background. The flakes can be fastened by gluing 
a piece of muslin over the back. 



MATERIALS REQUIRED FOR 

PHOTO-EL.EGANTI/E. 

One tube each of the following c >lors: Silver white. Pru- 
ssian blue, Chinese vermilion, Chrome yellow, Vandyke 
brown. Ivory black, and Crimson lake. One Zinc presser. 
One bottle of Mastic varnish. One bottle of Crystal oil. Two 
Camel hair brushes, [No's 2 & 4.] One bottle of purified 
Spirits of turpentine [lor brushes.] One bottle of Camphor- 
ated bleached beach tar extracts. £ ounce of N Urate of st- 
rontia. — All the articles in the above list are included in 
Mr D. M. Lienhardt's $1.50 outfit. [See advertisement on 
last page.] N. B.- Any person wishing to teach this art 
can get the privilege to do so by Addressiug D. M. Lien- 
hardt 1025 Poplar street. Philadelphia Pa. He will furnish 
instruction papers to such for their scholars at 12 ceuts a 
dozen. But I want it strictly understood that he alone is 
privileged to get instruction papers printed. 
I will use all legal means to prosecute such as infringe on 
my copyright. The fine for doing so is one hundred dollars 
per line. Moreover any person found teaching this art for 
less than $5. will not be furnished directly or indirectly 
with instruction papers. 



@aa s'^si firii 



(69) 



OIL. PAINTING. 

Many of the pigments thai cauuot be used id water-color 
painting on account changing color, can be safely used in 
oil painting as each panicle of paint is enveloped in a skin- 
like encasement formed by the oil. The vehicle used in 
water color painting does not so envelope t'»e paiut, con- 
sequently it undergoes changes wrought by air and light. 
The following colors will form a useful set: — 
Flake white Yellow ochre Lamp black 

Cadmium yellow Cobalt blue Ultramarine 

Oappagh bit wu Pale cadmium yellow Raw sienna 

Madder brown Carmine (in powder) Rose inadd'r 

Emerald green Burnt sienna Indian red 

Of all artists' materials brushes are the most important. 
Flat hog's haii* brushes are the most useful for general 
purposes. The hair should form an eveu, thin edge. 
1 prefer the small ones, Very short, and the hair thin, 
as they do not spread on the points as the long ones do. 
Use sable brushes for line touches. Of these you will need 
several; some should be flat, and some round. If the round 
c nes do not come to a point by drawing them through 
your thumb and linger, after making them moist, they are 



C2 OIL PAINTING. 

worthless. Likewise the flat ones should c une to a flue 
edge. Badgers hair softners are used to soften broad 
tints in skies, and should be handled with great care to 
avoid a disagreeable smuginess. They should be used 
clean and dry with a light dabbing motion. The brushes 
should be cleaned every day, lirst, in spirits of turpentine 
and when dry, in thick soapy water, by rubbing them on 
the palm of your hand. Then rinse them in clean water 
and allow the hair to dry in its proper position. In case 
you are called off in a hurry and have not time to clean 
them, place them under water, as this will prevent the 
paint drying on them for a few days. 
(Jauvas is the best material to paint upon. It is kept 
ready for use of all sizes by dealers in artists materials. 
Prepared paper fastened when in me to a board with 
drawing pins is very good for a beginner. It is kept in 
blocks like those used for water color painting. 
Mill boards do not possess any advantage over the paper. 
A dipper is a small tin cup used for varnish, tupentine <&e. 
The Eest stick is a light stiff piece of wood used to steady 
the right hand while painting parts requiring steadiness. 
Palette-knives are used for manipulating the colors on the 
palette; two are necessary, one stiff, the other very flexible. 



OIL PAINTING. 73 

Easles should be strong and so arranged that the picture 
cau be raised or low e id in an instant 
Vehicles. Linseed oil boiled with Metaiie oxides is the veh 
-icle iu geueral use. Copal varnish is a very good vehicle, 
but to prevent it drying too quick add turpentine. 
Megilp. A mixture of Mastic varnish and drying oil, makes 
a very nice vehicle. 

Scumbling is the putting on of opaque colors, (made by 
mixing white) to lend distance to such parts as appear too 
prominently forward. It should be applied carefully and 
evenly with a hog's hair brush. 

Glazing is the applying of transparent colors either thick 
or thiii. If required thin megilp is added to them. Semi, 
transparent and opaque colors are very often used but 
they are rendered nearly transparent with megilp. Glaz- 
ing should never be attempted uutill the under coat has 
dried thoioughly or the color will blend with the glaze 
and destroy the effect. The use of opaque colors in this 
way will produce representations of sleet, smoke, mist &c. 
Th? light should strike the easel from the upper part of 
the window, and should beou t-»e left of the painter. A 
north light is generally considered best on account of be- 
ing more uniform. 



74 OIL PAINTING. 

Very little advancement can be made in landscape or por- 
trait painting without a thorough knowledge of sketching 
aud figure drawing. To those w ho know little or nothing 
of pencil drawing, and are anxious to cultivate their taste 
for painting, I would recommend practice in Antique and 
Crystal Porcelain Painting, as no knowledge of drawing- 
is required and very beautiful paintings can be produced 
after short practice. 

Having made a clear outline of your subject on canvas, pre- 
pare your tints for the sky. Quite a variety of tints used in 
distances, skies, w *ter, &c , can be produced by mixing ro- 
se madder, and cobalt. First make several shades, allowing 
the cobalt to predominate, and for another shade add 
to some of the same mixture a little more coba't, and to 
some of this last mixture a little more cobalt. Having 
made several shades in this way with the cobalt predom- 
inating. Next mix a variety ol shades with the rose mad- 
der niedomtn ttiug, always patting some of the last shade 
on another part of your glass or slab and adding madder. 
For middle distances add yellow ochre to the varied tints 
of cobalt and rose madder, aud in the weaker tints make 
the yellow predominate. The number of tints and choice 
of th^se so mixed depends upon your taste, and herein is 



OIL PAINTING. 75 

where some excell others in producing natural effects. 

To obtain nice warm- sunny effects in distances, skies, 
clouds, and for brilliant tints in the foreground use yellow 
ochre and orange vermilion, allowing each color to predo- 
minate alternately. For middle distance foliage use tints 
pr< cluced by mixing Vandyke brown and cobalt, and others 
with brown madder and cobalt, grading the tints with more 
or less of each color. Some more beautiful tints for this 
purpose can be produced from gamboge and prussian 
blue; and vandyke brown gamboge, and prussian blue 
allowing first one color then the other to predominate. 
Ft middle distance trees use tints produced by mixing 
yellow ochre and prussian blue. By saddening those colors 
with lampblack beautiful grays may be produced useful 
in foregrounds, distances skies, &c. 

A variety of useful and permanent sober grays and pur- 
ples may be produced by mixing rose madder and prussian 
blue with the rose madder predominating in some tints 
and the blue in others, then brown madder with the pru- 
ssian blue, the brown madder more prominent in some , 
and the blue in others, useful in cloudy skies distauees&c. 
For earth tints in the foregrounds &c. use tints produced 
from vellow ochre, and vandyke brown. 



76 OIL PAINTING. 

For autumnal foliage, and bright tints in the foreground 
such as the shading of draperies &c, use tints produced 
by mixing burnt sienna and carmine, and for others mix 
gamboge and burnt sienna. Those tints will be found very 
usefull also for cattle, birds, flowers, and in all cases re- 
quiring rich transparent colors. 

For foreground shaddows use grays and browns produced 
by mixing raw sienna, and prussian bine. 
For brilliant transparent purples of great depth in the 
foreground use tints made by mixing carmine and prus- 
sian blue, and others of carmine and fiench ultramarine 
For very bright greens in the foreground foliage use eme- 
rald green and gamboge, but use them very sparingly. 
White can be added to other colors when desired but it 
should be born in mind that too much white will make 
transparent colors opaque. 

In the first painting block out the skies, mountains &c. 
and allow it to dry perfectly. Do not try to accomplish 
too much at one sitting. 

In the second painting pay more attention to light and 
shade, and carefully shape the clouds and mountains. This 
done soften with the blender. 
In the third painting wherever glazing or scumbling is 



OIL PAINTING. ii 

required to produce the desired effects use the colors li- 
ght or dark as in your judgment tsuits the purpose best. 
Allow the color time to dry betweeu each rei>etitiou, aud 
by uo means try to do too much at one sitting, as you are 
apt by so doing to cloud the effects of the glazings. 
The use of oils and varnishes in paints should be avoided 
im much as possible, as they have a strong tendency to 
turn brown. Even in glazing when it is absolutely neces- 
sary no more should be used than is required. 
♦Several volumes might be written in regard to Oil Paint- 
ing, but nothing more than the rudiments could be expec- 
ted in a treatise of this kind. Moreover too muci that can- 
not be readily understood, only harasses the mind of the 
new beginner and defeats what it was intended to accom- 
plish, therefore without further reflerence to the different 
parts, I ieel that you will make far quicker advancement 
by procuring a small painting well executed, as a model. 
Paint one as near like the original as you can. Then paint 
one smaller or larger. This w.ll cultivate your taste in th 
selection of harmonious colors far quicker than if you were 
to proceed by attempting to produce an original painting 
of your own v 



78 Oil. PAINTING 

To those who are anxious to learn photograph painting in 
oil colors I will say that care has been taken to have the fol- 
lowing instructions as clear as space will permit. I do not 
pretend to give more than an insight into the general 
mode of painting photographs. But still I feel that the 
instructions, as brief as they are, will meet the wishes of 
beginrers, and save the expense of at least one years in- 
struction under au experienced teacher. It will prepare 
them to accomplish in a few lessons what would otherwise 
take a teacher a great many lessons to impart. 



IN OIL COLOKS 



(79) 



PHOTO. PAINTING 

IN OIL COLORS. 
To prepare the photograph dissolve some gum - traga- 
canth in the whites of eggs and add to this a very little 
alcohol. It will take about 36 hours before it is ready for 
use. When dissolved strain it through a piece of fine mus- 
lin free from lint. If the photograph is mounted on a c *rd 
remove it by soaking it in hot water and apply a coat of 
the above s.ze to each side of it with a flat camel's hair 
brush, and when dry remount it, and it will be ready to 
paint . Sometimes, however, another coat of size is put on 
after mounting it on the card as the colors are apt to st- 
rike through the paper where the size is very thin. 

FLESH TINTS. 
Flesh tints are produced by mixing flake white Chinese 
vermilion, and naples yellow, for darker complexions use 
white vermilion and black. For others use white terre ver- 
te, and a little indian red, and for others white, black, raw 
umber and indian red. Some deep shades are put on with 
light red and raw umber, and others with indian red, bla- 
ck and lake. The more powerful carnations are put on 
with \* kite and indian red; white and rose madder; and 



82 PHOTOGRAPH PAINTING IN OIL COLORS. 

white and Like being used for children and delicate females 

TINTS FOR HA IK. 
For llaxen hair, use white aud yellow ochre; and white 
and roman ochre for other shades. Put in the dark parts 
with Vandyke brown which may be made light with white 
For brown hair, use raw and burnt umber; white and van- 
dyke brown; and romau ochre and Vandyke brown. For 
the dark parts use white and raw umber. 

FIRST PAINTING. 
Have your flesh tints on your palette graded successively, 
th^t is. each tint from the deepest to the lightest, increas- 
ing in depth from right to left. Then the middle or shade 
tints, with some of the pure c< lors following. 
Megilp is used as a vehicle aud it is thinned with spirits 
of turpentine when you wish to paint thinly 
The high lghts are first put on full, gradually uearing the 
more florid parts till the middle tones are reached, then 
gradually descend into the clouds which are thinly put on. 
Put on a bluish white for the white of the eye and paint 
the iris and pupil upon it. Next mark out the features 
useing a warm shade color. Now lay in the lips rather 
weak. The hair and the eyebrows will next require your 
attention. liay in the shades followed by the lights, like- 



PHOTOGRAPH PAIJNXIJNU IN OIL COLORS. 83 

wise the draperies. Now gently go over the face with a 
softner carefully rounding it till the tints are well united. 

SECOND PAINTING. 
After allowing twelve or fourteen hours for the picture to 
dry. go over all the work with a soft sponge,and when dry 
it is ready for the second painting. This sponging of the 
picture must not be dispensed with or the subsequent 
painting will not evenly unite with the first. Sometimes a 
coat of poppy oil is put on after the water from sponging 
has dried. It is applied with a brush and the superfluous 
oil is then wiped off very dry. For this purpose an old silk 
handkerchief is as good as anything, it being very soft: 
TINTS FOR SECOND AND THIRD PAINTING. 
High lights: — W hite and naples yellow . Carnations: — Ro- 
se madder, and white. Indian red, rose madder and white. 
Green tints: - W hite and ultramarine, With a little yellow 
\v lute terre veite and a little raw i mber. Gray tints; — 
White, ultramarine and light red. White, black, indian 
red and lake. White, indian ltd, raw umber ard ultramar- 
ine. White, ultramarine and rose madder. Powerful shade 
tints: — Indian red, purple, lake and black. Red, raw um- 
ber and black. Next retouch the mouth and eyes carefully 
attending to their pearly tiuts and then blend them in- 



84 PHOTOGRAPH PAINTING IN OIL COLORS. 

to their proper colors with the blender. Now give the 
reflexes your attention and avoid the use of white in them 
as much as possible. Next soften the outline of the head 
with the back-ground, and by all means avoid any sharp- 
ness in the outline of any part. {See that the lines of the 
eyes nostrils, and mouth are carefully blended so as to im- 
part an air of life to the whole. 

THIRD PAINTING. 
The picture is now ready for another sponging and when 
dry scumble over the lights again, and improve the huniu- 
ious tints. Attend carefully to tiie glazing and reflexes. 
Avoid the use of white in finishing the carnations, which 
should be laid on decidedly, with a tine pencil, so as not 
to blend with the previous colors. For lights use a flue 
brush also, and lay them on with a decided touch Soften 
such parts as require it, then attend to the finishing of 
the background and draperies. If desirable y< u may give 
it a finer finish by retouching, allowing time for drying. 
TINTS FOR BACKGROUNDS AND CLOUDS. 
For pearl backgrounds, mix white and black. For ivory, 
use white and yellow. For clouds use brown madder, lake, 
Indian red, black, aud white. For the edges of clouds use 
naples yellow aud flake white. 



PHOTOGRAPH PAlflTJJNlx IN OIL COLORS. 85 

MATERIALS REQUIRED FOR 

PHOTOGBAPH PAINTING IN OIL OOLOKS 
Success in every branch of painting depends upon useing 
the best materials, therefore deal where you are sure of 
getting what you ask for at the lowest price and of the 
best quality. As a rule yon will have to pay more ibr ma- 
terials at places on main streets where rents are very 
high than you will on streets where rents are comparati- 
vely low. I have alway found Mr. D. Lienhardt, of 1025 
Poplar Street, Philadelphia, Pa., very reasonable. 

The fo'lowing list of colors forms a very complete set: — 
Flake white, brown ochre, yellow ochre, raw sienna, burnt 
sienna, Chinese vermilion, Venetian red, purple lake, light 
red, indian red, crimson lake, prussian blue, cobalt blue, 
ultramarine blue, rose madder, ivory black, emerald green 
vandyke brown, terre verte, burnt umber, raw umber, 
purple madder. Sable brushes, softners, pale drying oil, 
mn stic varnish, megilp, spirits of turpentine, poppy oil, 
palette and palette knives, gum-trgacanth: alcohol &c. 



\MM,TMM <8®>MbM iP^IM^^IB 



(87) 



WATER COLOR PAINTING 

Water colors are prepared in cakes, and are used in this 
form only where great purity is required. They are also 
put up in tubes like oil paints in a semi-liquid state. But 
the most convenient form in which they are put up is in 
cans, in a moist state. I prefer these as they are easily 
taken up with the brush and are always ready for instant 
use. The colors all lit into & small box that can be carried 
in the pocket, and on this account they are generally pre- 
ferred for sketching from nature. 
The following colors will form a very complete set: — 
Chinese white. Chinese yellow, pale cadmium yellow, yel- 
low ochre, Venetian red, carmine, madder carmine, cobalt 
blue, cadmium yellow, french ultramarine, vandyke brown- 
madder brown, burnt sienna, raw sienna, gamboge, orange 
vermilion, indiau red, prussian blue, black, emerald green, 
Veronese green. 

COLOR -BOXES. 
Color-boxes are made of tin japanned, and contains spa- 
ces for 18 whole pans of colors besides space for brushes. 
As it is not necessary to have whole pans of all colors 
from 20 to 24 colors can be put in each box. A half pan oc. 



90 WATER OOLOfi PAINTING 

cupies only half the space of a whole one. You will be 
able to get along with half cakes of the following colors: — 
cadmium yellows, orange vermilion, indian red, Venetian 
red, emerald green, and black. Such colors should be so 
arranged in the box as will least injure each other in cace 
they should run one into another. Keep the dull colors 
on one end and the light delicate colors on the other. 
I arrange my box with the cadmium yellows in the upper 
end and then the orange vermilion, reds, madder carm- 
ine, &c. Then the bines, browns, siennas black, gamboge, 
emerald green &c, at the lower end 

PAPER, 
The most convenient form of paper for sketching is that 
made up into blocks of twenty five or thirty sheets. They 
are easily separated and cannot be carried away by the 
wind. Whatinans extra thick paper of 40 lbs. to the ream 
is the best. But where much opaque color is used in the 
picture any common paper will do, especially if of a warm 
gray or brownish color, but it must be pasted onto another 
sheet of paper to in tke it thicker. 
BRUSHES 
Brushes should come to a fine point of their own accord, 
and not bulge out in the middle. Sables are the best. Of 



WATEB OOLOB PAINTING 91 

these you will need two or three of the goose-quill size, 
and a black sable of the swan-quill size, for flat washes. 
French camel's hair will answer the purpose but not so 
well. A flat earners hair in tin will also be found very 
useful for washing as will also one or two French camel's 
hair of the goose quill size with good points. If the color 
is allowed to dry on the brushes it will utterly destroy 
them. In watt*r color painting they should hardly be 
laid down for a moment without washing them, and see- 
ing that the hair dries m its natural position. 
Hog's hair brushes, such as are used in oil painting, will 
be found of great use in rubbing in masses of deep color 
in foregrounds. The color can be used much stiffer with 
it than with the sables. 

WATER. 
Water should be clean and abundant. The use of dirty 
water is equal to mixing so much dirt in the colors. 

OTHER MATERIALS. 
Besides these materials a drawing board of deal; some 
earthen slabs; a sharp penknife with round end for scrap- 
ing lights; a small paJette knife for manipulating opaque 
colors with Chinese white; a flat jappanned tin water-bot- 
tle to hold water while sketching, with the outside case 



02 WATER COLOR PA I IS TING. 

made to form dippers; prepared ox gall for use in min- 
ute quantity where the paper is greasy or wooly; and a 
quill pen or two will be lound useful. 
One of the prmeipal points in which water-color differs 
in practice from oil painting is Jlie laying or of flat tints 
by means of washes. In washing in a flat tint the p;*per 
must be placed sloping, and the color should be mixed 
ready, and in sufflcent quantity, on an earthen slab with 
divisions, or a white earthen plate. They should be laid 
on with a full brush, begining all along the top, dr.ving it 
do\s nward with light strokes, so as to keep the excess of 
color at the bottom of the tint as it goes on. This edge 
should not be allowed time to dry at one place while work- 
ing at another, for if forgotten for a moment a hard line 
in the tint will be the result. When the space is covered 
the excess of color at the bottom of the tint is soaked up 
and the paper allowed to dry in the same sloping position. 

GRADATION TINTS. 
A gradation tint is produced by mixing two or more col- 
ors so as to increaee or diminish their strength or brilli- 
ancy as one goes on. In very warm subjects it is gene- 
rally necessary to begin by laying a perfectly flat tint of 
yellow ochre or cadmium yellow all over the picture. 



WATER COLOR I'AIJNTUNU. 93 

Lights in water color are either left out ill doing the sur- 
rounding tints, or where that is difficult, are painted with 
opaque colors, or rubbed up after allowing water tore 
main on long enough to soak it sufliceut according to the 
depth to be rubbed up, and the color takeu up by a single 
strong rub with a soft rag, or what is better still an old 
silk handkehchief. This of course can ouly be done on lig- 
ht colored paper. Small lights are more easily rubbed up 
with a quill pen and water. If we lay a weak tint of white 
over other colors we get the same effect as in scumbling 
in oil painting or in useing opaque colors. By^washing 
a tint gently with clean water and a soft brush we do the 
same as laying wnite over it, because in wshing it the col- 
ons removed only from the tops of tin* little prominences 
of the paper which are thus left white. We get nearly 
tne same thing by rubbing the tint lightly with a linen rag 
stretched tightly over the linger aud moistened with water, 
but this should not be done to large flat t.nts as it cannot 
be done evenly. A tint laid quickly on rough paper will 
seem colder and more distant than t^e same tint laid on 
smooth paper because the little hollows between the lunips 
on the paper will be left untouched by the brush, and act 
in the same way as by mixing so much white with the 



94 WATER COLOR PAINTING. 

color. A good way of leaving out a number of lights 
which would otherwise be an even gradation sky, as for 
instance the light floating clouds often seen against the 
deep blue or purple ground of a sun-set or a sun rise sky, 
or the light edges of trees against blue or cloudy skies, 
or against dark distances &c, is this: — 
Lay on the sky or distance tints in successive washes as 
usual neglecting the lights untill the background is dark 
enough; then whilst the last wash is still wet. rub out the 
lights with a damp linen rag over the finger, or better still, 
with a fine sponge wetted and squeezed out as dry as 
possible. The edges of lights produce in this manner will 
of course be rather smudgy, and when they are required 
very sharp and clear, must be finished off by scraping with 
a sharp penknife or by touching up with Chinese white. 

THE GENERAL METHOD, 
having sketched in outline lay on the fiat washes first 
if any be required for the sky or distances, and whilst the 
paper is still wet rub in roughly the whole of the picture 
with appropriate colors, trying to get all the variety of 
colors in the original, taking care to keep the color too 
warm rather than too cool, for it is easier to cool down 
the tone of a picture when too warm than to make it 



WATER COLOK PAINTING. 95 

warmer if the first tints have been too cold; and we must 
bear in mind besides that the colors with which we paint 
shaddows in finishing the picture are always colder than 
the first tints with which the lights are painted. 
In this way of begining a picture one should try as much 
a»s possible to make each part nearly dark enough at once* 
giving at the same time an indication of the light and 
shade side of each object, but markiug them not too disti- 
nctly, and making allowances as above for the colder color 
of the finishing touches. In laying in darker colors a flat 
hog's hair brush, like those used in oil painting, will be 
found of great use, from a quarter to half an inch wide is 
a convenient size. With it one may take up the color as 
thick as it is in the moist pans, and lay it at once on the 
picture in that state, by which much time will be saved. 
(Jare must be taken in working on wet paper, that the 
color in the brush shall be thicker than the color on the 
paper, in other words the brush must be dryer than the 
paper; for if one touch the damp paper with a full brush 
of liquid color it will run out of the brush onto the paper, 
and spreading in all directions, will make a great smear 
instead of marking out the intended form. By useing the 
color that is too thick to run out of the brush all kinds of 



96 WATER COLOR PAINTING. 

forms — even the dark twigs of a tree — may be painted 
onto a perfectly wet sky, with very little smudging of the 
touches. A variety of tints used in skies, distances, 
water &c. can be produced by mixing rose madder and 
cobalt, grading the tint first with the blue and then with 
the madder predominating. For middle distance tints add 
yellow ochre to the varied tints of rose madder and cobalt 
For brilliant foreground tints mix 3'ellow ochre aad ver- 
milion grading the tints to suit. For middle distances 
mix Vandyke brown and cobalt. For middle distance trees 
mix yellow ochre and prussian blue. By adding a little 
lamp black to the varied tints of yellow ochre and prus- 
sian blue, useful tints for foregrounds skies, &c. may be 
had. From rose madder audp usian blue a variety of grays 
and permanent purples may be produced useful n clouds 
skies, distances &c. Burnt sienua and carmine will produ- 
ce beautiful tints for autumnal foliage bright tints in the 
for?grounds &c. gamboge and burnt sienna will produce 
very rich transparent tints, useful for cattle, birds, flowers 
&c. Raw sienna, carmine and prussian blue will produce 
tints suitable for foreground shaddows. For brilliant tran- 
sparent purples, mix c .riiiiue and prussian blue. For very 
bright greens infcUe foreground use emerald and gamboge.. 



f^flfil 3> ASSESS?®-. 



(97) 



FLOWER PAINTING. 

This is much the same as painting on silk, velvet &c It 
is suitable for screens, cusbadores, and a variety of pui] mo- 
sses which the inventive mind will suggest. 
After sketching your design give it three coats of white 
blended with varnish and when tacky apply dry colors. 

PURPLE FLOWERS 
Shade with prussian blue, then give it a coat of the pro- 
per tint made by adding carmine to a little of the blue 

PINK ROSES, 
lor the s'»ade use cobalt blue, then coat with pale carmine 
to which add a little Chinese vermilion. 
WHITE FLOWERS. 
For the shades use indiau ink or a neutral composed of 
cobalt blue, rose madder, and a very little indian yellow. 
The pettals, when dry can be tinted with colors to suit. 

CRIMSON TUSCAN ROSES. 
Shade with indiau ink, then give it two coats of carmine 
and ULish with purple. 

SCARLET FLOWERS. 
Paint the shades with cobalt blue to which a little indiau 
red may be added, then coat it with the proper tint made 
by mixing carmine and gamboge. 



100 FLOWER PAINTING. 

BLUE FLOWERS. 
Shade with indigo but if this should be too dark a little 
cobalt and prussian blue will answer. Then coat with 
cobalt to which a little rose madder should be added. 

YELLOW FLOWERS. 
Paint cool shades with indian ink, and warm shades with 
burnt umber, then coat with gamboge. The deeper parts 
may be gone over with gamboge to which may be added 
a little burnt sienna. 

LEAVES. 
Paint pale green leaves with gamboge and prussian blue, 
a little more blue being added for darker green. Some 
times a little ciimson lake, or burnt sienna, or van dyke 
brown, is added. Forperrished leaves use indian yellow, 
crimson lake and burnt sienna 

VELNING. 
Fos veining add a little mastic varnish to vandyhe brown 
and apply it with a very smajl sable brush. 

STAMENS AND ANTHERS. 
Put in the stamens and anthers with the same used for ve- 
ins. When tacky, apply dry chrome yellow, to the anthers. 
A little poppy oil added to the colors will mahe them 
take more dry color and it will appear deeper and richer. 



3i®aimif irmss amines 



(101) 



ROMAN YASE-ART1SE. 

This mode of imitating Chinese and Japanese decoration 
on gla^s vases is quite simple, and has become a favorite 
source of employment for such as have leisure time. 
By this process glass vases are made equal in appearance 
to richly painted imported porcelain vases. 
The designs for this work are printed on sheets and can 
be procured in this way or by selecting such as suit yon. 
To proceed — Dissolve some gum-tragacanth and a little 
sugar in water to the consistency of varnish. Give the de- 
signs a coat of this on both sides and allow the paper to 
become well saturated before mounting it ou the vase as 
the air can be worked out much better when the paper 
is soft and pliable than when it is part damp and part 
dry. A little zinc presser, such as are used for mounting 
photographs, is used to press the design smoothly onto 
the glass. When mounted apply another coat of the size to 
the back of each design and when dry give the inside 
of the vase three coats of white lead to which a little blue 
has been added. This will give the glass a porcelain finish. 



104 ROMAN VASE-ARTISE. 

Do not paint over the backs of the designs untill yon 
give it a fourth coat, this will bring the paint even with 
the thickness of the paper, and when the last coat is 
applied it will hide the paper from the scrutiny of the 
uninitiated. 

The following colors for coating the insides of vases will 
relieve the designs nicely if harmoniously selected. 
White and a little black. White and yellow. White and 
blue. White and a little green. White and rose madder. 
White, rose madder and cobalt, allowing first one color 
to predominate, then mix the same for other tints with 
the other colors more prominent. Yellow, rose madder 
and cobalt will produce some beautiful tints by grading 
them alternately with more or less of each color. 
Other shades of pink can be had by mixing crimson lake 
and white; and carmine and white. 



©MlfJllIIIlSf^IlIL ^©ffllT. 



(105) 



ORNAMENTAL POTTERY. 

Potters' ware in its crudity does not seem as if it could 
be changed into a beautiful art object with very little 
labor, but it certainly can be elegantly ornamented by the 
following simple and durable process:— 
Give the article to be decorated a thorough washing and 
drying, then warm it and apply five coats of black japan 
varnish, allowing time for each coat to get thoroughly dry 
before applying another coat. When the last coat is dry 
take a rag pad of convenient size and rub the varnish 
down smooth all over with rotten stone and water, being 
Aery carefull not to rub too much in one spot, or you will 
rub a hole through the varnish. When smooth all over 
wipe it dry and dissolve a little beeswax and rosin in 
boiled linseed oil to form a polish with which you will rub 
the article briskly all over useing an old soft rag free from 
lint. If the polish is too thin it wont polish, if too thick it 
will polish the rag and not the article. When the article 
is polished to suit you it is ready for the designs. 



108 ORNAMENTAL POTTERY. 

For this purpose Decalcotnanie or transferable pictures 
are used. They can be had at all Artist Supply Stores. The 
method of transfering them is as follows: — 
Cut off the margin of the design and give it a coat of de- 
calcomanie varnish with a sable brush, then press it onto 
the article with a zinc presser made for the purpose, and 
when dry carefully rub off all the paper allowing the 
print alone to remain. If you should happen to injure the 
print a little, the best course is to match the injured part 
as near as you can by applying a little oil paint of the 
desired color with a small sable brush. 
Some-times gold bands or bronze borders are put around 
the top and bottom of the article and relieved by a flue 
line of white and red. or white and pink. This makes an 
elegant finish, and few persons to see one well done 
would ever imagine that it was Potters crude ware, as it 
is a perfect imitation of Dresden Ware. 
If you desire to put the gold bands on, give the part a coat 
of the ^ hite of an egg and wh.e_u tacky apply the go'cl leaf* 



£T,&2P < ft38'SSS S1^¥E1© ( 



(109) 



JAPANESE INLAYING. 

This style of painting* is some times called ivory painting. 
It is generally made use of in ornamenting musical instru- 
ments, furnitur?, work boxes, fine brushes &c, in imita- 
tion of ivory set in ebony, and when well done it closeiy 
resembles real ivory inlaying. Of late there has been la 
great deal of furniture handsomely finished in this style 
and sold for imported. The designs are generally on the 
Japanese or the gothic order. They are cut out ot thick 
paper, very much like a stencil, and are then pasted on- 
to the article. Three coats of black paiut is next put on 
and when dry it is rubbed down with rotten stone and 
water, and a chamois pad. Another coat is then put on 
and treated in like manner. The papers are then removed 
by making them damp, and the places from which they 
are taken is tilled with white lead of the finest quality 
tinged with a very little chrome yellow, and when this 
has dried it should be polished with french polish. 



112 JAPANESE INLAYING. 

Beautiful wreaths aud boquets ean be put ou small pine- 
wood tables and finished iu their natural colors. Some- 
times a quantity of granite, glue and plater p^ris is cast in- 
to a table top and the ornaments put in while it is soft, and 
when it sets the ornaments are removed and the colors 
put in so artistically as to give it the appearance of a solid 
sheet of granite beautifully inlaid. On granite, tin is used 
for making ornaments, instead of paper. Borders are very 
often made in this way on different articles and a very fine 
decaicomanie picture transferred to them instead of work- 
ing the center pieces in like the rest of it. This is done to 
save time, but stil! they answer the purpose very well, iu- 
fact some of the decaicomanie pictures are so nicely finish- 
ed they have the appearance of finely executed paintings. 



22L3S W3L©*WMM 



(113) 



SILK FLOWERS. 

The best silk flowers are made on a frame work of spiral 
wire. If } on can not purchase the spiral wire convenien- 
tly you can make it by winding very fine silver or copper 
wire around a knitting needle or any stiff wire of the 
proper size. This done bend, pieces of copper wire the 
exact shape of the petals of the flowers you wish to make. 
This copper wire should be a little smaller than the one 
around which the spirals are formed. Next pass sumcent of 
the spiral over the wire you have shaped for a petal and 
twist the ends. Proceed in this way till you have all the 
petals formed then weave the silk on from the center to 
the edge twisting it each time around the wire. Slant the 
silk from the point towards the stem going only to the 
center each time. The silk is fastened in the center by 
passing it through a loosly twisted wire that should 
reach from point to stem. 



116 INSTRUCTIONS IN SILK FJLOWEKS. 

The spiral prevents it slipping on the wire, as it is passed 
between a spiral every time it is twisted or wove from side 
to center. When t'»e pettals are all wove in this way, form 
the flowers by fastening them all together on a thicker 
wire which is to be the stem. Cover this with green silk. 
For exhibition they can be formed into wreaths, rnchors, 
crosses, crowns or any other design you may think appro- 
priate. The best silk for this work, is that used for raised 
silk flowers as it is shaded and has a twist-like finish. 

EAISED SILK FLOWEKS. 
Those flowers are generally stamped on at stamping stores 
and the silk worked in by hand. The only difficulty that 
most persons find in doing this work is to raise the 
flowers. This is done by working the silk over raw cotton. 
If some parts seem rather high when finished, you may 
press the silk to one side and remove a little of the cot- 
ton with a large needle. 



j&sbotstob wm%m mmmM. 



(11.7) 



THE GOLDEN 1UNGLET. 

Here is «.i little g >lden tress 

Of soft unbraided hair; 

The all that's left of loveliness 

That once was thouhgt so fair. 

And yet though time hath dimmed 

its sheen, 

Though all beside hath lied, 

I hold it here a link between 

My spirit and the dead. 

Oh, sunny tress the joyous brow 
Where thou did'st lightly wave. 
With all thy sister tresses, now 
Lies eold withiu the grave. 
That cheek is ot its bloom bereft, 
Tli «t eye no longer gay; 
Of al! her beauties thou art left, 
A solitary ray. 

A single shining tress of hair 

To bid such nienioiies start; 

But tears are on its luster, as 

I lay it to my heart. 

Oh, when in death's cold arms I sink, 

Who then with gentle care, 

Will keep forme one treasured link — 

One ringlet of my hair? 

MMWimwm WM.HM W©2&2L 

During my stay in Charleston, S. 0. a few years ago an 
aged lady showed me some ol the most beautiful hair work 



120 ARTISTIC HAIR WORK. 

I ever saw. The silver, the gray, and the gold, were exqu- 
isitely blended together. I had seen fine work at the Oen- 
tennniai Exposition, but nothing to be compared to this. 
It was a piece of work made from hair of her relations 
for several generations, and although they had all gone 
from life's pathway there were clustered around a parlor 
monument beautiful flowers in memory of what those 
lives once were, flowers which are in themselves a part of 
the very natures of them whose memories linger long 
and lovingly in that aged heart, reminding her of the 
many angel faces that shall greet her in that grand re- 
union where all shall be joy for evermore! 
Let us too ever dearly cherish the memories ol those 
who go before us, and to this end let us learn those arts 
that add to the attractions of home, and when the close- 
mg hour shall come to us we will have some mementoes 
to give to our children, that will silently speak for us long- 
after we are gone, and perhaps have a great influence 
over their lives for good. Let us not live as those who 
care nothing for the future. Such persons are living lives 
without a purpose, and when they pass from life they go 
like a pebble thrown into the mighty Ocean, to be forgot- 



ARTISTIC HAlll WOBK. 121 

ten after the little ruffle it makes 011 the surface. The 
woi hi is no better for their having lived in it, therefore 
they are placed aside as weights that beset others. 

To proceed: — Put two ouuces of sal. soda info > 

half a gallon of soft water, and boil the hair in it for one 
hour. Then dry it in the oi>eu air, but be careful to hang 
it where there is no dust. Some leaves and petals are made 
by looping the hair between two small copper wires. The 
loops are eaeu made a little longer from the center to the 
ends. This wire is then bent double and the loops form a 
leaf or petal. Others are pasted onto paper with gumtra. 
gacauth. and cut the shape of the desired leaves or petals. 
Veins are put on with hair of a lighter shade. Others still 
are made of loops fastened with fiue wire, and several loops 
made to form a flower, by fastening them to a larger wire, 
which is to form the stem. Before putting the petals onto 
this large wire, the stamens are fastened onto the end of 
it. Those are some times made of horse hair, sometimes of 
a feather, and very often of the hair itself spread on the 
ends. Some flowers are made of oue shade of hair, but 
they can be made more haudsome with several shades 
blended together. 



122 AUTISTIC HAIR WORK. 

Iii making hair flowers natural shapes are disregared, as 
the object is not to make them look like natural flowers, 
but to work them into taste full artistic forms. You will And 
that very little practice is required to become proficient 
in this art. 

OKOSS, ANCHOR, AND BIBLE. 
Sketch your design on paper with the bible leaning agai- 
nst one side of the cross and the anchor aginst the other. 
II you cannot draw your own designs have them done 
by an engraver. Place the design under a small light of 
glass, and take a few hairs in your hands and after mak- 
ing them into one strand with gum tragacanth dissolved 
in water, proceed to paste it over the cross till covered, 
then cover the bible in the same way, likewise the anchor. 
Do aj'u try do put on t v o many hairs at once, as you will 
make quicker progress with a few. A very sharp penknife 
is better than a pair oi scissors to clip the hair with. 
When you have covered the design the paper can be re- 
moved and pi iced aside to use as often as you wish to 
make any person a design of the same. A cross and crown 
makes a beautiail design for hair work, as does also a 
crown and bible. Some persons prefer two or three letters 
entwinediufc > t in >a >£i\iin md >l aced in a recessed frame. 



ARTISTIC HAIR WORK. 123 

From this explanation it will be readily understood that 
almost any design can be formed into hair by putting 
the drawing under the glass for a model to work by. 
This is a very profitable buisness, and there would be a 
great many more into it only the uninitiated think they 
must know how to sketch their own designs. But there 
are very few among hair workers who can do their own 
drawing. They get them done by engravers, and all they 
do is to carefully paste the hair over the design, and 
make use of the same design for others. A design in 
hair that would be worth fifteen dollars would not cost 
more than one dollar to have it sketched, therefore it 
will be seen that the cost even at the onset is compara- 
tively small. 

The general belief is that hair work is very tedious, but 
it is because they imagine the hairs put on one at a time. 



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(125) 



FEATHER FLOWERS. 

Proceed by selecting the feathers as near the size and 
.shape ofeach petal as you cau. If yon can not select them 
the exact shape or size, trim them oft' with a pair of sharp 
scissors, and color them with dry colors, such as are used 
for wax flowers. Apply the color with your thumb and 
lingers. The foundation for some flowers is a small piece 
of leather made round, and holes perforated into it, slant- 
ingly, into which the quill parts of each feather is inserted 
utter being dipped into a solution of gum-arabic. All flow- 
ers can not be made in this way. Others are made by 
cutting off the quill part of the feathers and inserting 
tine wires through the stems, after making small holes 
through them with a needle fastened into an awl handle. 
The wires should fit into the holes tight, so as to hold the 
petals firmly in their proper places. Such stamens as are 
used for wax flowers can be used for feather flowers. 
The flowers are formed into shape by twisting the wires 



128 FEATHEK FLOWERS. 

exteuding from the petals around a larger one which is 
to form the stem. The parts of the wire exposed should 
be covered with green tissue paper. 
As such flowers are generally placed under a glass case 
it doees not make much difference whether they are dyed 
or colored with dry colors, bat if you wish to dye them, 
proceed as follows: — 

Scald the feathers by pouring over them hot soap suds. 
Repeat this washing twice more with warm suds, then 
rinse them twice in clear warm w *ter, and put them into 
the dje. The length of time required to dye them de- 
pends upon the strength of the dye liquor. 
Procure any color of aniline you wish and put it into alco 
hoi, then put the bottle into hot water till the aniline is 
dissolved. The more aniline you put, to a certain quantity 
of alcohol the stronger will be the dye, and of course the 
deeper will be the color. Any color of aniline but black can 
be made into dye in this way. Use the dye hike warm. If 
you wish to set the color dissolve a little alum in the 
aniline. Rinse in wjinn water and dry in the open air in 
a shady place covered with a piece of gauze. 



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(120) 



SHELL FLOWERS. 

In making shell flowers it is much better to select flowers 
to make from your shells, than to select shells tor certaiu 
kiuds of flowers; for you cau see at ouce that you would 
need a very large quantity of shells to have a variety 
sufficient to make any kind of a flower. When the flo- 
wers are to be made of natural tinted shells a nicety is 
required in groping tints that harmonize. But nearly 
all this kind of work is now done with shells colored 
with transparent colors, it being so easy to imitate the 
natural tint. The colors useful for this work are Yellow 
lake. Rose nnnMer. Carmine, Crimson lake, Cobalt blue, 
and Emerald green. If the colors are not sufficiently trans- 
parent, blend a little Mastic varnish with them on the 
palette with a palette knife. Apply the colors to the shells 
witli a small sable brush. A base is made of leather. 
Punch two holes about ^ of an inch apart in the centre 
of the piece oi leather and bend a short piece of wire like 
a hairpin and pass one end through each hole and twist .t. 



132 SHELL FLOWERS. 

This wire is to form the stem, and should be in thickness 
sufficient to hold the flower firm according to the size of 
it. Kext moisten the edges and give them an upward 
inclination, then put on some glue and sprinkle over it a 
little raw cotton clipped into fine dust with a pair of sciss- 
ors. The cottou holds the shells more firmly on the foun- 
dation. The greater incline you give the shells the less 
will be required to make a flower. When you place 
them on the base press them on. 

Select such shells as are most regular in size, and use a 
natural flower as a model. 

Leaves made of fishscales harmonize \*ell with the shells. 
Alter cutting them the shape of the leaf desired, mark 
on the veins with the point of a large needle. 
Some very beautiful work of this kind is done on ladies 
and childrens' dresses, dolmans, &c. 



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(133) 



SKELETON LEAVES. 

A QUICK PKOCESS. 
The leaves should be gathered when fully matured and 
placed in an old book for about 24 hours. Among the thou- 
sands of different leaves suitable for this purpose may be 
mentioned the holly, ivy, aspen, willow, camelia, orange, 
lemon, wistera rose, and honeysuckle. Various kinds of 
seed vessels and ferns look well when tastefully grouped. 
Procure a small light box about eighteen inches deep, 
tweny inches long, am 1 ten inches wide, with a close tit- 
ting door on top, and one on the lower part of each end, 
not more than six inches square. Be doubly sure that 
every knot crack, and seam is covered with thick paper. 
Use glue to put it on. Then procure two small deep 
seamles tin dishes, or iron ladels, and put iuto each two 
ounces of pulverized sulphur, and two ounces of charcoal 
crushed fine. Now put wires along the upper part of the 
box, and after tying your leaves in very small bunches 
with fin^ wire fasten them to the wires in the box so as 



136 SKELETON LEAVES. 

one bunch will not touch another. Then close the upper 
door and glue thick paper over the seams. This done, 
drop a piece of red hot iron into each ladle, and put one 
ladle into each end of the box, with a brick under each to 
prevent them burning the box; then close both doors 
quickly, and glue paper over it to make it air tight. 
The fumes of the sulphur will remove all the epidermis 
from the fibre in about twent} T four hours. They should 
then be put in open air for about six hours. Then dip 
them into a solution of oxalic acid, say, about an ounce 
to a half pint of water, and dry them in the sun and open 
air. If not sufficiently bleached repeat the dipping again 
and again, allowing them plenty of time to dry between 
each dipping. The fibrous texture of some leaves is so 
very delicate the acidife "(us solution should be made much 
weaker or it will ruin them. 



CRYSTALLIZING AND STAINING 



(137) 



CRYSTALLIZING AND STAINING 

FLOWERS AND GRASSES. 

Flowers to crystallize should be cut before they come to 
full bloom, and dryed a in dark room. Any that may have 
faded too much can be touched up with tube colors of 
the shade desired. Apply them with a small sable brush. 
If the paint obscures the veins make it thin with a little 
mastic varnish. It will take at least ten days to dry them. 
At the end of this time make a saturated solution of alum, 
that is, dissolve alum in hot water till the water will not 
dissolve any more; then foirn your flowers into boquets 
of the size desired and dip them into the solution, then 
hold them in the air a minute or so, then dip them again, 
ain 1 so continue till you have a sufficient deposit of crys- 
tals or alum. 

Grasses should be cut white green and allowed to cure or 
or dry as hay in the snii; or by hanging it in paper bags. 



140 CRYSTALLIZING AND STAINING. 

Some grasses can be bleached by dipping them into a solu- 
tion of oxalic acid made by dissolving one ounce of acid 
in one quart of water. Leave the grass in this five or ten 
minutes, theu dry it in the sun and open air. 
HOW TO STAIN GRASSES. 
Grasses can be stained any color by dissolving aniline of 
the desired color in alcohol. The aniline should be put into 
the bottle containing the alcohol, and the bottle placed 
into a vessel of hot water, otherwise the aniline will not 
readily dissolve. To prevent the glass cracking it is best 
to put the bottle in when the water is warm, then bring it 
to aboil. Before putting the grasses into the stain they 
should be well washed in water made very soft \^ ith borax 
and sal. soda. The length of time required to stain them 
depends upon the amount of aniline dissolved in a certain 
quantity of alcohol. 



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(141) 



TAXIDERMY. 

OR THE ART OF PREPARING AND MOUNTING 

BIRDS ANIMALS REPTILES &c. 

This is an art that is easily acquired, and is very gratify- 
ing But unlike many other simple arts you can not well 
repair what you spoil, therefore proceed carefully. 
Birds for this purpose should be killed with very hue shot, 
and taken home at once and skinned. There are various 
modes for removing the skin, but that generally* practiced 
by good Taxidermists is first, to run a small wire through 
the beak or nostrils; then twist the wire around a small 
upright piece of wood; next fasten the feet with a string- 
so as to take off the strain from the beak, that it may not 
be injured. The reason for putting it on the upright stick 
is that you m ly have the use of both hands to remove the 
entrails. The back of the bird should be turned against 
the stake. Now cut the stomach open to the breast with 
a thin bladed kuife.di awing it outward and upward. Use a 
paii" of scissors to cut the wihd pipe, and then remove all 
flesh you can, being carefull not to breah the bones, or 
injure the sKin. Remove the brain with a small syringe 
by boaring a small hole in the roof of the mouth through 



144 TAXIDERMY. 

to the brain. It is sometimes removed by putting the syr- 
inge through the eye. But it requires the utmost ere. 
Now thoroughly wash your bird with warm water, then 
with alcoholin which you have ilU solved as much arsenic 
as you can. But do not let the arsenious solution get on the 
leathers. Bub over the inside only, and inject a little into 
the head with the syringe, then rub the insides with tan- 
nin. Next uniformly fill out the bird with cotton, and 
gently draw the skin together, placing a slip of adhesive 
paper tiuoler the seam, to hold it close together. It should 
be haudled with the greatest delicacy and care, so as not to 
soil the feathers. Wires are now put through the feet up 
under the skm of the legs. With this wire you give it the 
desired attitude, and also fasten it to the artificial twig. 
Next put in the glass eyes, being carefull not to injure the 
eyelids, and adjust them with glue. Finish by smoothing 
the feathers with a fine brush or silk handkerchief. 
Ifthebirdor animal is very large remove all the flesh 
to the hips, and to the end joint in the wings. Use your 
own judgment in this regard, and you will do much bet 
ter than by following any set rule. For tishes and the like, 
merely soak the skins in a saturated solution of arsenie 
and tannin in alcohol, and fill them out with raw cotton. 



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(145) 



GLASS TRANSPARENCIES. 

Procure such an engraving as suits jour taste, and soak 
it for an hour or two in a weak potash solution ,then give 
the glass a coat of Antique varnish and when tacky put 
on the engraving, print down, ard carefully work out all 
air, with the little presser sold with outfits. Allow it six or 
seven hours to dry, then dampen the paper and rub it all 
off being very carefnll not to injure the print. When the 
paper is all rubbed off allow it a few minutes to dry then 
rub over it a little crystal oil. Glasses with fancy borders 
etched <>n thorn en be had at any Artist Supply store. 
The pictures, however, are always mounted on plain glass 
and the figured one is placed behind it and the two are 
then bound together with a metal band. Unless the band, 
i-j removed the uninitiated will think that it is done on 
French Plate-glass. 

Transparencies made in this way can be beautifully color- 
ed with LaKne's varnish colors. Tlio>;e C)lo-s cm be ap- 
plied regardless of shading, as the shading all shows soft 



148 GLASS TRANSPARENCIES. 

and handsomely through the colors without obscuring 
the finest lines of the engraving. 

The only place I know of where you can get those colors 
genuine is of Mr. D. M. Lienhard 1025 Poplar St. this 
City. You can get transparent colors at other places, but 
those can be depended upon — An aged friend at my 
side tells me that people will think that I have an inter- 
est in Mr. Lienhardt's Buisness, but their thinking so by 
no means makes it so, I have been particular to call 
attention to the materials required for the different arts 
that are given in this booh because exj erienoe as a 
Teacher has convinced me that pupils are very often im 
posed upon by dealers in artists' materials. Buy your re- 
quisites where ever you wish, but if you fail on account 
of their inferiority do not blame the Instructor. 

MATERIALS REQUISITE FOR 

GLASS TKANSPABENOIES. 

Two camel's hair brushes, one zinc presser, one bottle- 
mastic varnish, one battle of spirits of turpentine [to clean 
brushes] one bottle of poppy oil, and one tube each of the 
following colors: — Prussian blue, Yellow lake, Burnt 

sienna, Scarlet lake madder lake. Verdigris. 



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(149) 



DIAPHANIE &VITREMAIN 

Those are easy methods of ornamenting glass to resemble 
stained glass. There are several hundred designs pub- 
lished for this work They are printed in colors, and the 
colors are transferred from the paper to the glass by the 
following method: — 

If the design is to go on the full size of the glass apply 
a coat of Antique varnish to the face of the picture and 
then j lace it on the glass, face down, with a piece of fine 
damp muslin over it to moisten the paper, and to prevent 
it cracking. If several small designs are to go on the 
same glass a border should be formed of tin toil so as 
the seams can not be noticed. Those borders should be 
shaped to suit the subject. Lay the glass on the design 
in the exact place where it is to be fastened to it, then 
mark the shape and size of the space on which the pic- 
ure is to go. A piece of soap cut to a point is best to 
mark on glass. Having marked out the spaces in this 
manner put on the tin foil border, then prepare the picture 



152 DIAPHANIH A.ND VITREMATN. 

and mount it as instructed. Then alter allowing- twenty 
lour hours for it to dry, dampen it with a sponge and 
rub off all the paper being very careful not to injure tlie 
print. To keep the paper firmly to the glass while dry- 
ing put a board over it with a weight upon it and several 
sheets of paper between the picture and the board. 

VITREMAIK 
The designs for this work are printed on sheets as those 
for Diaphanie. The process is the same with these excep- 
tions: The pictures are coated wit'» glucina and are then 
allowed three days to dry when they will be ready to 
mount by merely wettiug both sides of the picture and 
the foiled side of the glass with clear cold water The air 
between the picture and the glass is in each process 
worked out with a roller, or a pressor like those used 
in Antique pin ting. In this process the paper can be 
rubbed off without waiting as required in diaphanie. 



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(153) 



PAPIER DUPERY. 

This is a very simple and beautiful mode of imitatiug stain- 
ed glass The designs are printed on French tissue paper 
in ms many colors as is desired with transparent printers 
ink. It is then pasted onto the glass with a paste made of 
corn starch and nitrate of strontia mixed [a spoonful of 
each] in half a cup of cold water and brought to a boil. 
A presser like tho^e used in Antique painting is used to 
press out the air between the paper and the glass, and 
when dry a little parafine is scraped over the tissue paper 
and the glass made warm enough to make the parafine 
flow over it. This renders it semi-transparent. The glasses 
shou'd be cut to their proper size before the paper is moun 
ted on them 1 have seen bay windows, hall windows, 
screens &c. done in this way, that have surpassed in ele- 
gance any thing in stained glass I ever saw. 
Mr. Lienhardt has in press several beautiful designs for 
this work that will be ready shortly. [See advertismei t 
on last page.] 

Other modes of imitating stained glass will be found 
in this book headed Diaphanie and Vitremain. 



156 PAPIER DIAPERY. 

Another mode of imitating stained glass, is to soak an 
Ordinary engraving in a weak solution of potash, printed 
side down, for about two hours, then give the glass a eoat 
of Antique varnish and as soon as it becomes tacky stick 
the engraving on, and work out all the air with a zinc 
presser, such as is used for mounting photographs. In 
about twenty four hours dampen the paper and carefully 
rub it off so as not to injure the print, and when it has 
dried go over it with a little poppy oil; then color the diff- 
erent parts with transparent colois regardless of shades 
as they will all show through the colors. 



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(157) 



SHEET WAX FLOWERS. 

This beautiful art hitherto lias beeu considered by most 
persons as too tedious au undertaking. But one fair lesson 
iu it will convinee any one of ordinary taste that it is by 
no means difficult to acquire a thorough knowledge of it. 
It is an old saying that well begun is half done, and iu uu 
work is this more true than in ornamental work. What to 
buy and where to buy is worth as much as the instructions, 
and how true it is, that this is the block over which so 
many stumble. They are taught with good materials, and 
purchase inferior materials, of their teacher, and wonder 
why their work does not look like that done by the teacher, 
when in truth, the teacher could hardly do better with the 
same materials. Then be careful to purchase of a respon- 
sible dealer, and '-Be sure you are right, then go ahead." 
There are too kinds of wax flowers. Some are made of 
cold or sheet wax; aud others are made by dipping molds 
shaped like the petals, into hot wax. Some persons sheet 
their own wax, but it can now be bought as cheap as it 
can be made in small quantities. Madam Scheiffele's sheet 
wax is generally considered the best. 



160 SHEET WAX FLOWERS. 

The names of the different parts of flowers may aid in 
explaining therefore I give them below. 

^AMES OF PARTS OF FLOWERS 
Calyx i— the green cup or extention. 
Sepals — the divisions of a calyx. 
Corolla — the flower or portion not green. 
Petals — leaves of the corrolla 

Stamens —■ all the thready part in the centre of the corolla. 
Filament — a single thread ol a stamen. 
Anther — the ball on the end of a filament. 
Pollen — the yellow powder on the anther. 
Pistd — the seed case in the centre of the flower. 
Style -- the slender part of the pistil. 
Ovary — the lower portion of the pistil. 
Receptacle — the uuion of all parts, or the place where 
all parts unite. 

Procure two natural flowers as near alike as you can, and 
take one to pieces, laying the petals in rows as you take 
them from the flower. Make several of each size, then 
proceed to color them. In coloring you have the natural 
flower to go by, and you should persevere to get it as 
near the color, and, in forming the flower, as near the 
shape of the natural flower as you can. Ox-gall is used 



SHEET WAX FLOWERS. 161 

in very minute quantities on the petals to make them takti 
the colors better. I prefer to touch up some petals with 
oil colors and wtule tacky to apply the dry color. 
For purple flowers, mix carmine and prussiau b'ue, and 
then shade with prussiau blue. For pink roses mix earmine 
and Chinese vermilion, and shade witli cobalt blue. White 
flowers, shade with cobalt, rose madder, and sometimes 
a little Indian yellow. For crimson tuscan roses, use car- 
mine, and shade with purple. For scarlet tiowers, mix car- 
mine and gamboge, shade with cobalt blue to which a iit- 
tie indian red may be added. For blue lowers, use indigo 
or cobalt and prussiau blue, and shade with cobalt to 
winch add a little rose madder. For yellow flowers, use 
gamboge, chrome yellow, or naples yellow, and shade with 
gamboge to which add a little burnt sienna. 

GREEN LEAVES, 
Procure green sheet wax of a variety of tints, also sheet 
bra.ss leaf moulds for such as you wish to make. 
Dip the mold into warm soapy w^ter, and press the sheet 
wax into it with dampened lingers. Next lay on the wire 
stem, and lay another piece of wax over it then after press- 
ing it down, smooth off the edges with a penknife aud 
remove the leaf from the mold w ith the point of the knife. 



102 SHEET WAX FLOWERS. 

REQUISITES FOR WAX FLOWERS AND FRUITS 
The following is a complete list of colors and other mate- 
rials required, but a Urge variety of flowers can be made 
from 9 or 10 colors. I think, however, that it is better not 
to begin wax work at all than to begin with an incom- 
plete list of materials. 

The dry colors required are ultramarine, cobalt, carmine, 
burnt carmine, purple carmine, yellow carmine, madder 
carmine, rose madder, pink madder, crimson lahe, scarlet 
lake, chrome yellow, permanent yellow, Chinese vermilion 
orange vermilion, scarlet vermilion, flake white, Chinese 
white, silver white, chrome green, ivory blach, blue black 
raw sienna, raw umber, burnt umber, vandyke brown 
antwerp blue, prussian blue, and indigo. 
Other necessaries are: frost, down, diamond dust, bloom, 
arrowroot, block wax, sheet wax, no's 1, 2 and 3; stamens, 
poonah brushes, camel's hair brushes, leaf molds, petal 
cutters, molding tools, pincers, curling pins, silk covered 
wire assorted sizes, and one tube each of the following 
colors in oil: carmine prussian blue, chrom yellow, emerald 
green, Chinese vermilion, vandyke brown, and madder. 



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(163) 



HOT WAX FLOWERS. 

Procure the finest quality of white wax iu blocks, and 
melt a desired quantity of it by the heat of steam. This 
can be done by placing the dish containing the wax over 
a vessel of boiling water. What ever color you wish 
to tint the flower put a little of such color into a piece of 
very tine muslin and put it into the hot wax till the tint 
is deep enough then remove it. 

Molds are made of wood the exact shape of petals, and a 
little rounded on the Ikce to give the petals their natural 
dish or hollowiiess 

To make the petals, you luve only to clip the mold in 
warm soap suds, then into the wax, alternately for each 
petal, dropping the petal each time from the mold into 
a damp dish. 

After the petals are made in this way they can be impro- 
ved by touching them up with dry colors of the finest. 
quality. To give some flowers their velvety appearance 



166 HOT WAX FLOWERS. 

breathe upon them and apply dry color while moist. 
While forming the flowers onto the stems warm the tips 
of the petals over a spirit lamp, and keep the room warm 
and your fingers damp. A very little oxgall is put on the 
petals if the colors do not readily adhere. 
Leaves are made of green sheet wax in natural veined 
sheet brass molds. Dip the mold in the soapy water, then 
press the wax into the mold with damp fingers. Next 
trim off the edge with a penknife and press on another 
piece with the wire stem between the two. 
A little balsam of fir or spirits of turpentine put into 
the hot wax will make it less brittle. 

A great many persons have paid $10. to learn this process 
and have failed to make any flowers on account of buying 
paraffiue or spermaceti instead of white w. t x. In every 
case of this kind that I have came across the materials 
were bought of the person who gave the instruction. It 
is plainly seen that this deception was practiced merely 
to prevent them doing what they paid to learn. 
Others have failed by useing the molds just as they come 
from the Factory. All wooden molds should be nibbed 
with fine sandpaper before useing them. 



Ill llfSf 



(167) 



WAX FRUIT. 

The molding of all kinds of fruits is very much the same. 
Molds for some vegetables such as pickles, corn, watermel- 
ons &c, have to be made in three divisions, but apples, 
pears, peaches, oranges, lemous, &c. are made in two. 
Procure a small box, about as thick as a cigar box, live 
inches square inside and ab< ut two inches deep. Have it 
about J inch smaller on the bottom than the top so as it 
will be a little tapering on each side. Cut an orange in 
half as evenly as you can and lay one half in the box flat 
side down and make a pencil mark around it, then mix 
some Dentists stucco [fine plaster paris]to the consistency 
«>t molasses and pour it over the half orange. When the 
piaster has set turn it out of the box and remove the half 
orange with a penknife, being very careful not to injure 
the mold, Now place the other half of the orange in the 
box on the penciled eircle on the bottom of the box and 
take a cast from it in the same way. When hard remove the 
half orange and fasten the two in k lds together with a 
string. See that the edges are even, then bore a little hole 
round and smooth with the penknife between the two. 



1 70 WAX FRUIT. 

This little hole is to pour the w^ix in, and should not be 
larger than a lead pencil. Also make ready a little wood 
peg to fit the hole. This d.nie remove the string, place 
the mold in warm soapy water while you melt a little wax 
in a dish, by placing it over the steam of any vessel. 
Next fasten your mold together with the string, and pour 
into it about three tablespoonfuls of the hot wax, then 
insert the peg and quickly turn it in every direction so as 
the w ax will runall over the inside of the mold. When the 
mold is cold remove the string, and gently press it apart 
with a thin bladed knife, and you will have the shape of 
the orange in wax on one side of the mold. Now lay a 
piece of folded muslin on the table, and slightly tap the 
back of the mold, and the wax ft im will drop out. It is 
then ready to color. 

INSTRUCTIONS FOR COLORING FRUIT. 

BLUE PLUMS. 

Use carmine, and touch with blue, then breathe on it and 

sprinkle with purple powder made by mixing carmine and 

prnssiau blue. 

GREEN GAGES. 
Use lemon yellow and finish with green and purple powder 



WAX FRUIT. 17 1 

ORANGES. 
Use vermilion orange, or chrome yellow and vermil'on. 

LEMONS. 
Use lemon chrome. Lemons and oranges should be coat- 
ed with demar varnish after the paint has (hied. 

PEACHES 
First coat with yellow and finish with carmine. Next 
breathe on it and roll in your hands covered with arrowroot 

GKAPES. 
Grapes are some times made of glass balls sold for the pur- 
pose, and others make them of little balls of wax. After 
forming them into clusters breathe on them and sprinkle 
purple powder over them. Green wax is best to use. 

APPLES. 
Use green, yellow, vermilou, and carmine separately; and 
when dry coat them with mastic varnish, and put a clove 
in (.ne end and a natural sttm in the other. 

CURRANTS AND BERRIES. 
The wax is made traspareut by adding balsam of fir to it 
and it is then colored in the usual way with carmine in a 
piece of muslin, then made into balls of the sizes desired. 

PEARS. 
Use chrome green, and yellow, and dot them with brown. 



172 WAX FRUI T. 

BEEK 

Melt some ro^in mid pour it into a. glass, rlien melt some 
white wax and drop a. little oxalic acid into it to make it 
foam, then pour it over the cold rosin. Some persons 
beat it to a froth with an egg be iter. 

WINES. 
Wine and champagne can be made of light colored rosin 
a sparkling appearance is given by sinking small pieces of 
gum mastics into the glass of rosin. Eor red wines, color 
the melted rosin with carmine put into a piece of uinsliu. 

JELLIES. 
Jellies are merely pieces of gum arabic partly dissolved 
and put into a glass. The gum can be wholly dissolved 
and tinted as wines, then formed into small lumps again 

OAKES. 
Tint some melted wax with chrome yellow, and pour it into 
a mold made from real cake, to give the edges a more cru- 
mbly or porous appearance prick them with a needle 

IOE CREAM. 
Melt wax and tint it with flake white, in a piece of muslin, 
then put it onto the plate by spoonfuls, allowing time for 
each spoonful to become a little chilled before putting on 
another, and finally leave tbe spoon imbedded in the wax. 



MM TS^Wm W>M%WTZM<&< 



(173) 



ANTIQUE PAINTING. 

By this process the print of an ordinary picture is trans- 
ferred from the paper onto the glass and changed into a 
beautiful oil painting. This art enables us to make use of 
the many beautiful engravings that come with Periodicals 
&c, by changing them into elegant oil paintings to adorn 
our homes at less expense than it costs for common 
Chromos. 

Procure a ligat of German or French glass the size of the 
picture you intend to paint, uud give it a coat of antique 
varnish with a stiff brush, and allow it about seven hours 
to dry, then give it another thin even coat, and as soon as 
it becomes tacky it is read}' for the picture. Dampen the 
picture in v arm water in which you have dissolved a little 
salt, then wipe off the dripping water with a soft rag, and 
place the picture onto the glass face down and proceed to 
work out all air between the picture and the glass. This 
is best done with a zinc presser sold with outfits. A piece 
ot oiled paper can be placed over the back to protect it 



176 ANTIQUE PAINTING. 

whiln pressing it onto the glass. It is now allowed twelve 
houi'K to dry when it is again moistened with a damp 
sponge, and all the paper carefully mbbed oft' with the 
second and third finger , useing them in brushing or 
rolling manner, and with the utmost care, so not to in- 
jure the print. If you do not try to ts ke off too much 
paper at once you will get along nicely. After the paper 
is removed allow it to dry, then go over it with extra 
bleached drying oil and it will then be ready for painting. 
The painting is all done on the back, but mistakes can 
not be rubbed out as easily as in Crystal Porcelain Paint- 
ing, as you have the print alone on the glass, and should 
you attempt to use spirits of turpentine to it move any 
paint it would remove the print also A little ciystal oil 
and a small piece of soft rag or sponge will best answer to 
remove mistakes, and even this must not be used to freely. 
For distances, skies, water, &c„ mix rose madder and 
cobalt. For mid-distances use yellow ochre, rose madder, 
and cobalt, graded. For mid-distance foliage, grade br- 
own madder and cobalt. For mid-distance trees, use yel- 
low ochre and prussian blue Foj earth tiuts &c, mix 
Vandyke brown and yellow ochre. For autumnal, drape- 
ries, birds, flowers &c., use gamboge and burnt sienna. 



GENERAL INSTRUCTIONS 

2F©m I'ni'ii©, 



The following instructions in tinting, colors suited to com- 
plexions, the harmony of colors, and table of mixing tints 
is the same as are given lor crystal porcelain painting, 
but are inserted here to save constant turning from one 
subject to another. 



(17i) 



ANTIQUE PAINTING. 179 

TINTS FOR EYES. 

Gray eyes, use Prussian blue tinged with yellow to give 

it a greenish-gray caste, and if too dark add a little white 

to make it lighter, and if too green add a very little brown 

Brown eyes, use Vandyke brown with white and a little 

yellow to make it the shade desired 

Hazel eyes, use Vandyke brown a little Crimson lake 

and Silver, or Flake white to make it lighter 

Blue eyes, use Prussian blue. Mix white with it to make 

all the varied shades of blue, bearing in mind that the 

more white added to the blue the lighter it will be. 

TINTS FOR JEWELRY. 
Old gold, use Chrome yellow tinged wth Crimson lake. 
Roman gold, use Chrome yellow and Silver white. 
Bronze gold, use Raymond's. Gold Paint. This is the 
best article sold for this kind of painting. 

TINTS FOR PRECIOUS STONES. 
Rubies, use Rose madder and Crimson lake to suit. 
Pearls, „ Silver white and a little Prussian blue. 
Emeralds „ Emerald green acd a little Silver white. 
Garnets, „ Chinese vermilon and Rose madder to suit. 
Diamonds „ Little specks of Vermilion first and when 
dry finish with white. 



180 ATI^UE PAINTING. 



TINTS FOR CHEEKS AND LIPS. 
For children, use Rose madder. Put a speck on the cheek 
with your brush and rub it on with your finger so as it 
will be on very thin. For grown persons, tint the cheeks 
and lips in the same manner with Crimson lake. 

FLESH TINTS. 
For children, mix Rose madder, Silver white acd a little 
Chrome yellow. For grown persons, mix Chinese vermilion 
Silver white and Chrome yellow. For dark complexions, 
add Vandyke brown. 

TINTS FOR HAIR. 
Chestnut hair, use Ivory black, yellow ami a l'ttle madder 
Brown hair, use Vandyke brown. To lighten the shade 
use a little yellow and white 
Flaxen hair, use white, yellow and brown. 
Brown hu,ir, use Vandyke brown. To ligten the shade 
add white, but if a yellowish brown is desired add yellow. 
Auburn hair, use Burnt umber, Lake and chrome yellow. 
Gray hair, use white, yellow and a little blue. 

TINTS FOR BACKGROUNDS. 
To imitate Pearl mix a little black and bine with white. 
To imitate Porcelain mix a very little bine with white. 
To imitate Ivory mix a little yellow with white. 



ANTIQUE PAINTING. 181 

A little green inixM with white makes a very pleasing tint 
for backgrounds, as does also a little blue and rose madder 
mix'd with white. 

To imitate Jet mix blue, black, and a very little white. But 
bear in mind that unless the background is very dark in 
the picture it cannot be made jet black. 
Vandyke brown, Gamboge, white and piussien blue mtik 
a variety of pleasing tints for backgrounds. Burnt sienna 
Silver white, Carmine, and gamboge, make beautiful 
ivory tints, very usefull in autumnal foliage, shading of 
draperies, also for birds, flowers, and all cases where very 
rich color is required. 

11 1 w sienna, madder lake, cobalt, and silver white make 
very beautiful silvery grays. 

Some beautiful, warm, sunny tints may be produced by 
mixing yellow ochre, orange vermilion and silver white. 

Some dull sober tints on the order of beautiful grays 
can be produced from lamp blach, silver white and gam- 
boge. 

From lamp blach Silver white, and Cobalt blue, may be 
produced. A variety of saddened blues of universal use- 
in shies &c. White and a little Carmine produces a delicate 
tint suitable for back-grounds on paintings of children. 



182 ANTIQUE rAJLJNTlINCx. 



A variety of delicate tints can be produced from rose 

madder, cobalt blue and a little white. The white is added 

to make the transparent colors opaque 

From yellow ocbre, rose madder and cobalt blue a variety 

of duller tints may be produced 

From a little white, yellow ochre and prussian blue a vari 

ety of pleasent,cool grayish greens may be produced. From 

rose madder, brown mader, prussian blue and a little white 

a variety of grays and purples may be obtained. A little 

white, gamboge and burnt sienna produce several bright 

tinl;s usefull in painting ba rub borders &c 



COLORS SUITED TO 



(183) 



ANTIQUE PAINTING. 1S5 

As colors detract from or contribute to the skin audgene 
ral cast of the features such colors should be sel ected as 
will best harmonize with che complexions The reason per- 
sons often remark that paintings look more handsome 
than the persons really are is simply because the artists 
selected colors that best suited the complexions. On toe 
other hand artists have destroyed the appearance of bea- 
utiful faces by the reflection of ill assorted and inharmo 
nious colors. Attend therefore to a proper adjustment of 
colors and their harmonious blending and you may even 
improve plain features. 

All soft hues of each color are most appropriate to be- 
auty. Brilliant colors should be used sparingly 
Even ribbons and trimmings are not chaste and pleasing 
if too brilliant, but of course they will bear a greater rich- 
ness of color than the principal material of the dress. 

COLOES SUITED TO FAIE COMPLEXIONS. 
The colors best suited to fair females are rose, azure, buff, 
mauve, peach, fawn, and all light shades of yellow. 
COLOES SUITED TO DAEK COMPLEXIONS. 
For dark complexions the colors that suit best are violet, 
purple, puce, olive, dark blue, green, claret [color] old 
gold or orange, [color] and pearl 



ANTIQUE 1»A.[NL'ING 



COLOKS SUITED TO MEDIUM COMPLEXIONS. 
For medium complexions the colors tiiat suit best are az- 
ure, pink, pencil, lilac, aud pale green. 
OOLOBS SUITED TO PALE COMPLEXIONS. 
The colors best suited to pale females are pale yellow,buff, 
pale rose, light blue, lilac, and dove [color. | VV lien wnite 
is used it cau be toned with the above colors for trimming. 
COLOKS SUITED TO SALLOW COMPLEXIONS. 
The colors best suited to sallow complexions are red, pur- 
ple, green and blue of varied shades. 

1 will here say that the mere fact that the colors harm- 
onize with the complexion is not sumcent. the;; must also 
harmonize with each other; that is, tiere must be an agr- 
eeable contrast between the ribbons, trimmings, aud the 
dress. Some times the colors suited to a blonde will look 
well on a brunette, but not unless there is associated with 
them colors that harmonize with the complexion thereby 
causing a harmony between the whole; but still this is 
not as perfect a harmony as when the dress suits the co- 
mplexion. Black suits all complexions. 



ANTIQUE PAINTING-. 



187 



TABLL OK COLORS THAT HARMONIZE. 

Yellow and Purple Harmonize 

» » Bh * ck • „ 

„ „ Violet , .. n 

„ „ Scarlet 

„ „ Lilac .. - ,. 

v v 1>W& • 

„ n Crimson ,. 

» n Blue .. „ 

99 V Ke<i , „ 

» » BlWU • •• „ 

v n Pil,k • •• • - „ 

Purple „ Black and Crimson ■ 

„ „ Yellow and Scarlet % M 

„ „ Green and Yellow .. .. .. ,, 

„ „ Blue and Oimsou.. .* .. „ 

„ „ White and Scarlet .. ?1 

„ „ Red and Green 

„ „ Blue and Orange .. .. .. .; 

„ „ Crimson and Orange- .. .. .. ■' 

„ „ Gold [color] and Scarlet •• .. 

„ „ Cnestnut and Buff „ 

„ „ Cardenal and Yellow •• .. v 



188 



ATIQUE PAINTING. 



?5 


ii 


11 


ii 


n 


ii 


11 


ii 


Orange 


ii 


11 


ii 


jj 


ii 


n 


ii 


ii 


ii 


ii 


ii 


ii 


11 


White 


11 


ii 


11 


ii 


11 


ii 


11 



TABLE OF COLORS THAT HARMONIZE. 

Black and Orange Harmonize 

„ „ Maze 

„ „ Wnite .. 

„ 3 , Scarlet 

„ „ Lilac 

ii ii l>rab .. .. 

„ „ Crimson 

Blue * .. 

Buff 

Brown 

Pink 

Lilac and Crimson 

Purple and Scarlet 

Green and Scarlet 

Blue and Orinson 

Green and Scarlet .. 

Red aud Green 
Blue and Crimson •• 

Crimson and Scarlet .. 
Gold [color] and Cherry 



Cnestnut and Purple 
Cardenal and Yellow 



ii 



ANTIQUE PAINTING. 



189 



TABLE Oh' OOLOKS THAT HAKMOBIZK 
Lilac and White •• < Ilurmouize 

» n Gra y „ 

» » Maizti „ 

„ „ Scarlet .. ., n 

» » Cherry .. .■ „ 

„ „ Mauve ., .. .. . 

„ „ Crimson , ? 

j, „ Yellow and Crimson ... 

„ „ Yellow and Orange .. .. ... • f 

„ „ Green' and Yellow . . .. 

„ „ Blue and Black .. 

„ „ White and Scarlet .. ? 

Crimson,, Maize .. 

„ „ Black ... .. , ? 

» » Brown f> 

» White .. 

Scarlet „ Black aud Yellow , 

„ „ Blue and Orange 

„ „ White and Orange 

„ „ Gold [color] and White » .. 

„ „ Blue and Buff •• .. ; , 

„ „ Cardenal and Yellow •• „ 



190 ANTIQUE PAINTING. 



TABLHi OJy COLORS THAT HARMONIZE. 

Blue and White .. .. Harmonize 

» Drab ... n 



rt 



» 



11 



» 



v 



»? 



M 



„ „ Maize 

„ Yellow 

„ Cherry .. . .. 

„ Fawn .. .. 

„ „ Chestnut 

„ „ Yellow and Crimson -. 

„ „ Crimson and Orange n 

„ „ Green and Yellow • -• .. 

„ „ Scarlet and Purple .. .. 

„ „ White and Scarlet .. .. n 

» Buff „ 

» » Black - - n 

„ „ Brown „ 

„ „ Crimson n 

Red „ Black and Yellow „ 

„ „ Blue and Orange „ 

„ „ White aud Orange. „ 

„ „ Gold [color] and White •• .. „ 

„ „ Bine and White .. ■• .. „ 

„ „ Green and Yellow „ 



TABLE FOR 



(191) 



ANTIQUE PAINTING. 



TABLE FOR 

For Buff Mix 

„ Cardenal „ 

„ Chocolate, „ 

„ Chestnut „ 

„ Dove „ 

„ Drab „ 

„ Green „ 

„ Gray ,, 

„ Gold [color] „ 

„ Olive „ 

„ Peach „ 

„ Pearl „ 

„ Purple „ 

Pink 

„ Flesh „ 

„ Stone[cok,r]„ 

„ Steel [color],, 

„ Violet „ 



MIXING COLORS. 
Red, Black and Yellow. 
Rose madder, and Vermilion. 
Red, Black, and Brown. 
Red, Black, and Yellow 
White, Red, Blue and Yellow. 
White, Yellow, Red and Black 
White Blue, and Yellow. 
White. Black and Yellow . 
Yellow and Rose madder. 
Yellow, Black and White. 
White and Roe madder. 
White, Black and Line. 
Rose madder and Blue. 
Rose madder and White. 
White, Yellow and Red. 
Blue, White and Brown. 
White, and a little Black. 
Carmine, Blue and White. 



194 

ANTIQUE FAINTING-. 



GENERAL REMARKS. 
In mixing colors the quantity of each color is n^t given 
as the quantity of each color depends upon the shade de- 
sired. If you mix white, yellow _jid blue for gray hair and 
find that it makes the hair an iron gray when you desire 
a silver gray you will have to add more white as it is the 
blue that darkens it. For goldeu gray the yellow is made 
to predominate. If too much blue is used it will make a 
green tint. The same rule must be observed in mixing all 
tints. If in producing flesh tints you get them too florid 
it is on account of too much red. If it is too sallow it is 
caused by too much yellow; and if too pale it is on account 
of too much wnite. Thus it will be understood that a little 
judgement will save unnecessary mixing of colors. 
If you wish to rem we any paint from the picture do so 
with a soft rag or sponge and a little bleached crystal oil. 
But do not use it too freely or it will extract the transpa- 
rent preparation from the picture and cause it to spot. 
Glean your brushes in purified spirits of turpentine 
when ever you wis'* to use another color, and never allow 
the paint to dry on the brush as it will render it worthless. 
Sometimes shiny streaks appear which are caused by 
the air &c being iusufficently worked out with the presser. 



ANTIQUE PAINTING. 

MATERIALS REQUIRED FOR 

ANTIQUE PAINTING. 

The materials required for this work are one tube each of 
the following Oil Colors: Chinese vermilion. Silver white, 
Prussian blue, Chrome yellow, Vandyke brown, and Crim- 
son lake. Two small Camel-hair brushes. [No's 2 and 4.] 
One bottle of Purified Spirits of Turpentine. [For brushes] 
One bottle of Crystal Oil. One ZincPresser. One bottle 
of Antique Varnish. One Stiff Varnish brush. And one 
bottle of extra bleached Drying- Oil. 
All the materials in the above list are included in Mr. 
I). M. Lienhardt's 11.50 outfit.[See advertisement at the 
end oi this bcok.] 

Other colors can be used to advantage, but the above list 
is a very good set lor general purposes. 
PRICE GENERALLY CHARGED FOR THIS WORK 
The prices charged for this work varies very niucli in dif. 
ferent c.ties. I have seen an engraving of The Prayer of 
Valley Forge colored, that only cost fifty cents, bring at 
auction $93, and another of the same subject equally colo- 
red sold for $10. 
The rates generally charged for teaching this art is $10. 



©aaasifiM.s. spjHrsa^rss?©, 



(107) 



ORIENTAL PAINTING. 

This beau til ul style of painting- is very much admired, as 
it shows off brilliant colors to far greater advunt^ge than 
any other style of painting. It is best adapted to painting 
flowers, birds of bright plumage, shells, fishes, &c. 
Procure a fine wood, or steel engraving, and a glass of the 
desired size. Dissolve some salt in soft water aud soak 
your engraving in it an hour or two with the printed side 
turned up. Now give the glass a coat of Antique varnish, 
and when it becomes tacky dry off some of the water from 
your engraving with linen rags, and lay it onto the glass 
printed side down, then work out the air between the pic- 
ture and The glass with a piesser. Allow it to dry till the 
next day with a board over the engraving, and a heavy 
weight upon it. If several thicknesses of paper are put 
between the board, and the glass, it will press the picture 
down more fiimly The next day dampen the paper with 
the same water and rub it off' of the glass. The utmost 



200 ORIENTAL PAINTING. 

care should be observed so as not to injure the print. Use 
a brushing or rolling motion of your fingers slowly and 
patiently. This done soak up the dampness, and when 
dry give it a coat of clearing varnish, and when it has 
dried it will be ready to color. Transparent points are 
used, and they arc applied' to the back as in Antique 
Painting. An even coat on the back over shades and light 
parts alike is all that is necessary. Some times tin foil 
is crumpled and placed on back of the paint to add a 
greater lustre to it. Flakes of pearl are also used to pro- 
duce brilliant effects. They are fastened with a piece of 
muslin over the bach after the colors have dried. 
For yellow flowers, use yellow lake. For scarlet flowers 
use yellow lake and crimson lake. For blue flowers, use 
the finest quality of prussian blue. For purple flowers, mix 
prussian blue and crimson lake. For light pink flowers use 
rose madder; medium pink, use carmine ;aud for dark pink 
use crimson lake. For white flowers, make silver white 
transparent with mastic varnish. A very little speck of 
ivory b'ach will impart a pearly tint to the white and a 
speck of blue will give the white a bluish tint if desired. 
A variety of greens can be produced by mixing yellow and 



ORIENTAL PAINTING. 201 

blue, bearing in mind that the more blue added to a 
quantity of yellow the darker will be the green. A little 
white added will produce lighter shades of green. 
If the colors are not sufficiently transparent, blend a little 
inastie varnish with them on a plate or palette, with a pal- 
ette, hnife. Success in this, as iu every art given in this 
booh, depends upon having pure materials. La Rue's Var- 
nish colors are the best for this worh, they are sold only 
by Mr. Lienhardt [see advertisement on last page. ] A com- 
plete outfit of colors, brushes, &c . for this work is worth 
$1,75. An outfit includes nine tubes of varnish colors, a 
zinc presser, mastic varnish clearing varnish, spirits of tur- 
pentine brushes &c. 



RUBBER STAMPS. 

Many persons have often wondered liow young ladies and 
gentlemen have been able to dress so well and stay at 
first class hotels when they had no other income than that 
from the sale of rubber stamps, but this is easily explained. 
Children are constantly reaching the age when they want 
their clothitg marked, to avoid confusion at home or at 
boarding schools, therefore there is a never ceasing de- 
mand for Name Stamps. Those stamps are sold for no less 
than 50 cts with ink and pads. The cost of the indelible 
iuk, stamp and pads, is only 6* cts each, and liK) stamps 
can be made in 2 hours. 

The cost of an outfit for this work is not more than $12. 
and this will include materials enough to do $50. worth of 
work. The mode of making them is very simple. The type 
are set up in a chase to form the names required, and an 
impression is taken from them with plaster paris. This 
impression is then put into a press with a piece of un vul- 
canized rubber over it. The press plate is then screwed 
tight onto the rubber, and the press put on a hot stove ti'l 
the rubber melts. It is then placed aside to cool, and on 
removing the sheet of rubber from the plaster, the names 
will be nicely formed on it. 



3B2La»©J&SSTP ©®®lfd JPSLJ^JS! 



(203) 



ELEGANT DOOR PLATES. 

There is hardly any one who has a home oftheir own, but 
would like to have a door plate, were it not for the high 
prices that are generally charged for them. A very com- 
mon engraved door plate will cost from $3.to $6. and we 
can safely say that any young lady or gentleman in strai- 
ghtened circumstances, could with a few specimens of 
these elegant door plates get orders enough in any small 
city to bring them handsome returns for their labor. Idle- 
ness I have said soon reduces persons of moderate means 
to poverty and distress. And in many cases it might be 
avoided, by a triffling amount timely iuvested. in some- 
thing very simple for which there is a liberal demand, 
and there is hardly anything given within the folds of this 
book, that can not be tinned to great advantage by any 
person leally in want of something to do, therefore I call 
the attention to the cost of several things, and the prices 
they bring in order to convince them that very little en* 
ergy is required to make a comfortable living, and an 
honorable one. I have made those door plates and through 



206 ELEGANT DOOR PLATES. 

agents have sold them to Doctors, Lawyers, Dentists 
Hotel keepers, Boarding hou*e keepers, and private per- 
sons, and have received as high as $r5,00. for a Dentist's 
or Doctor's Plaie, that would not cost me more thau 05 cts. 
to get it up. 

Have a pattern made of wood the shape and size you desa e 
the door plate, with au oval centre, and the back sunk so 
as a glass can be put into the casting as into any pictuie 
frame. When your pattern is finished get as many castings 
made from it as you wish. These can be made of brass or 
iron. Brass is the easiest to finish. If you desire them 
plated with nickel or silver 1 would advise you to use 
brass. The pattern can be made Vktiy light so as the cast- 
ings will not weigh much, and cost but a few cents each. 
The plating in nickel or silver would not cost more than 
15 cts. each. When plated cut pieces of glass to fit in the 
castiugs, and torm the name of letters printed on paper- 
If you intend to make several, get some alphabets printed 
in gold on paper, and cut out with a sharp penknife. Paste 
those letters onto the back of the glass with a paste made 
of corn starch and nitrate of strontia. One teaspoonfulof 
each to half a cup of water, stir till it comes to a boil. 



mn^^nsm w©mm 



(207) 



ORNAMENTAL 
LEATHER WORK 

I can hardly recall the many useful and ornamental arti- 
cles I have seen in my travels made from leather. When 
well done it e'osely resembles the richest carving in wood. 
The most beautiful picture frames I have seen were plain 
pine wood ornamented with leather work, and beautifully 
gilded. I have also seen mirors made in this way that 
reached from the floor to the ceiling, with inaurandya and 
convolvuli vines gracefully climbing from the base to the 
top. It was a piece of work that could be placed in the 
most costly furnished mansion and still be singled out an 
the most elegant piece of furniture it contained. No less 
beautiful was a side-board made by a lady of Charles- 
ton, only 16 years of age. Besides this she had a centre 
table, what-not, book case, fire screen, wash stand and 
several wall bracketts. The many articles of splendor that 
can be made in this way will be suggested by the inven - 
tive mind, and the pleasure they will afford will well 
repay anyone for the time it takes to become proficient 
in the art. 



210 ORNAMENTAL LEATHER WORK. 

Practice in this art is not only a pleasent recreation 
but while it will be found very profitable it will prepare 
such to accomplish with ease other branches of fancy work. 
The natural veined sheet brass molds used for making 
wax leaves are excellent to press leather leaves into, but 
the mold should be imbedded in plaster paris to make them 
firm. This can be done by laying the mold into a saucer 
and pouring the plaster over it. The hollow side of the 
mold should be turned down. 

Sheepskin of medium thickness is the best for general use 
although there are parts ill which the thin portions can 
be used to advantage. Mark out the shape of the leaves 
with the molds and a pointed instrument and cut them 
with a pair of sharp scissors. When you have cut out as 
many as you vt ill need wet them in cold water, and press 
them into the molds after imbeding them in plaster paris 
as instructed. Gently tap on the leather with a light 
hammer to force out all the veins, then dry them gradually 
by gentle heat, in an oven or beside a stove. 
To give the 'eaves the appearance of rosewood, dip them 
into a solution of Venetian red and vinegar, and when dry 
dip them into black varnish made thin with spirits of tur- 



ORNAMENTAL LEATHER WORK. 211 

pentine. When this has dried dip them into shellac vain 
ish and dry in the sun. This can be repeated till as stiff 
as desired. Grapes are made by tying large beads in thin 
leather, then insert the stem and cut the leather around it 
as smooth as you can. For tendrils paste two thin strips 
together over a piece of copper wire and when dry bend 
tliem around a tapeiing stick. A convolvulous ean be 
made of damp leather over a mold used tor wax work. 
Fushias, hopvines, passion flowers, cam meli as, jessami- 
nes, daisies, and wild roses all look well made of leather. 
Cut out your petals, and after soaking them in water str- 
etch them a natural shape with your fingers. Stiffen them 
with thin glue well cooked. For coloring use dry colors of 
the finest quality, manipulated on a palette with whites 
of eggs or gum-arabic to a freely flowing consistency. 
Arrange your work tastefully and so as the tacks will not 
be observed 

REQUISITES FOR LEATHER WORK. 
Venetian red, black varnish, spirits of turpentine, gum 
shell lac, copal varnish, oak stain, glue, tacks, copper wire 
plaster paris, leaf molds, gum arabic, wire nippers, pliers, 
and a halt dozen 8 inch wood hand screws. 



GILDING. 

GILDING ON GLASS AND PORCELAIN. 
Griud soine g< Id powder and borax iu gum water, aLd 
apply it with a camel's hair -brush. When dry it is fixed 
by the heat of a very hot oven. 

GILDING ON LEATHER AND WOOD. 
1o gild on leather sprinkle it over with gum mastic then 
heat the stamp to about the heat usually required tor sad 
irons, and press on the gold leaf with it. 
To gild on wood merely apply gold size and when tacky 
put on the gold leaf with a eamei's hair brush. Any thing 
requiring gilding can be done in this way. but china &c. 
should be baked in to stand constant washings. 

BRONZING. 
Almost any thing c;in be bronzed by first applying gold 
size and when tacky the bronze can be put on with a 
piece of thick plush. Printed matter can be bronzed by 
simply dusting the bronze over the print before it dries. 



THE PRESERVATION OF 



(213) 



PRESERVATION OF 

NATURAL FLOWERS. 

There are many things in Ornamental work, that are really 
so simple that some persons think they have been impos- 
ed upon by paying so much for knowledge so easily and 
quickly conveyed. Such persons would much more willing- 
ly pay their money, it teachers would spend more time in 
imparting the instruction. In short they think that they 
are paying their teachers so much money for so much time, 
when intact they pay merely tor the secret of the process. 
Most teachers are very sensible of this weakness in so 
many, and in order to please those peculiar people, they 
have added to some very simple arts many things to con- 
sume t ime, that it may appear to them that they are doing 
some tiling tor their money. In no branch of ornamental 
work has there been so much deception as in teaching the 
preservation of natural flowers I have taught this art to 
a few persons in nearly every city in the United States 
as I give it here, but never for less than $75. 



216 PRESERVATION OF NATURAL FLOWERS. 

To preserve a, flower whole, as it comes from the stalk, 
or viue, is impossible. The flowers must be dried and 
taken apart. There are various modes of drying them. 
Some persons dry them in a dark room by hanging them 
up in muslin bags. Others bore holes in a smal' box and 
after pasting a sheet of paper over the bottom, they put 
in about two inches of white sand, then put in some flowers 
then more sand, and so continue alternately till the box is 
lull, finishing with sand on top. The box is then kept in 
a warm place for five or six days. Ov^er a baker's oven or 
over a steam boiler in a hotel, is a very good place to put 
them. Next place the box in a cellar, or damp place for 
24 hours this is to attract moisture to toughen the flowers, 
as they are very brittle from the heat. This done make 
holes through the paper on the bottom of the box, and 
shake out all the sand you can. Now carefully take the 
petals apart, laying them in order as you take them apart. 
This done melt some block wax of the finest quality in a 
dish by means of steam. This can be done by placing 
the dish over a vessel of boiling water. If the flowers are 
white, put a little flake white into a piece of muslin and 
allow it to remain in the hot wax till tinted sufficient, then 



PRESERVATION OF NATURAL FLOWERS. 217 

remove it. Now dip some small pieces of English or 
French white tissue paper into the wax, and place a petal 
between the two pieces, then warm them over a spirit 
lamp and press them firmly together. You will be able 
to see the petal through the paper, so that there will be 
no trouble in cutting the paper the shape of the petal. 
As the petals all shrink by drying, the paper is allowed 
to extend about J of au inch all around the petals. Having 
encased sufficient petals in this way, form them into flow 
ers just as you would a wax flower. The wax can be tinted 
any color* desired by puttiug it into muslin as instructed. 
Green leaves are generally dried and merely painted green. 
If you doubt this process being the genuine, take some 
flowers to the light that have cost 150. or $60. to have 
them preserved, and you will at once see the paper margin 
where it extends over the petal. It could not be otherwise, 
for the flowers are returned their natural size, and the 
shrinkage caused by drying could only be made up by 
encasing the petals as described. 



CHINA DECORATING. 

The most simple mode of decorating china is with min- 
eral decalcomanie designs. They are printed on sheets 
and may be had at almost any Artist Supply Store as 
can also the varnish required to transfer them. 
After cutting out the design give the article a coat of var- 
nish where the design is to go on, and press on the design. 
It the air does not readily press out dampen the back of 
it, then allow it to dry, and after moistening it again 
carefully rub off all the paper allowing the print alone to 
remain. Another mode for those who can not draw is to 
soak an ordinary engraving in salt water and transfer it 
to the article with the same varnish, then proceed to color 
it with mineral colors to suit your taste. Messers Tilton 
& Co., of Boston,. Mass, publish several beautiful designs 
for China Painting. Those designs have the outlines per- 
forated so that a kuowledge of drawing is not necessary. 
With each of the designs a model is sent printed in colors. 
Many persons have began china painting in this way aud 
have made pleasing progress. But it should be borne in 
mind that painting on china must be baked in to stand 
repeated washings. 



VARNISHES. 

TURPENTINE VARNISH. 
5 lbs. of good clear rosin crushed fine to one gallon of oil of 
turpentine, boil till dissolved, and use wheu coo!. 

LINSEED OIL VARNISH. 
Boil one part liuseed oil one hour, then add four parts of 
good clear rosin crushed fine. Keep it stirred till the rosin 
is dissolved, then add one part spirits of turpentine and 
when strained and cool, it will be ready for use. 

MASTIC VARNISH. 
Bruise the mastic by a muller on a giindstone, and ^et 
the oily tear's aside, and put the ballance in double distill- 
ed ttiqjentiiie measured in a very clean measure, shake for 
about (me honn. Another mode is to dissolve it in alcohol 
by means of a sand bath, or by puttiug the vessel con rain- 
ing it in hot water. 

COPAL VARNISH. 
One ounce of copal, and £ an ounce of shellac crushed very 
tine, and dissolved in one quart ot'sj bits of wine. Keep n 
in a warm place and wstir occasionally till dissolved, then 
strain, and it will be ready for use. 



'220 VARNISHES. 

GOLD VARNISH FOE LEATHERS. 

Turmeric, gamboge, of each half a scruple, oil turpentine 

two pints ; add seed lac, gum sandarac, of each tour ounces 

dragon's blood four drachms, Venetian turpentine two 

ounces, pounded glass four ounces. Pour off clear. 

ANTIQUE VARN[SH. 
Put into one bottle 1J ounces of strictly pure vemee tur- 
pentine with 3 ounces of pure spirits of turpentine, and 
put the bottle in warm water. Into another bottle put 6 
ounces of genuine fir balsam of the finest quality, and 
3 ounces ot 95 per cent alcohol. Shake well every half 
hour for ten hours, then mix and keep in a warm place 
8 or 10 days before useing it. 

WATERPROOF OR PICTURE VARNISH. 
Five ounces of fir balsam dissolved in ten ounces of recti- 
fied spirits of turpentine. Agitate till dissolved, and strain 
if desired. Pictures should be sized with a solution of 
isinglass before applying the varnish. 

HARD WHITE VARNISH. 
One pound of mastic, 4 ounces of gum anima and 4 J pounds 
of gum sandrac. Dissolve in two ounces of rectified spirits 
of wine. Keep it in a warm place and stir them every few 
minutes till wholly dissolved, then strain. 



D. M. LIENHAKDT 
Dealer in 

SUPPLIES 

1025 Poplar Street, Philadelphia, Pa, 

The enormus yearly accession to the number of profess- 
ional artists and amateurs, indicative .as it is of growing 
taste on the part of the public has constituted, apart from 
professional emulation, apowerfull stimulous on my part 
to spare no efforts, neither of time or money, in meet- 
ing every possible requirement in excellence of material. 
To justify the liberal patronage I enjoy I shall continue 
to put forth every effort to procure colors that will not 
only be pure in composition but such as have brilliancy 
and depth of tone with the utmost resisting power to 
heat, light, and vapor. I shall keep a full line of requisites 
for the arts taught in the Universal Instructor, and will do 
all I can to maintain my reputation for reasonable prices. 



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